IMPORTANT  REMOVALS  IN  NEW  YORK* 


SCOVILL  MANUFACTURING  Co., 

HAVE  REMOVED  THEIR  DEPOT  FOR 

FROM  THEIR  OLD  STAND,  TO 

Entrance,  No.  36  Park  Row,  No.  4  Beekman,  and 
No.  141  Nassau  Streets. 

HOLMES,  BOOTH  &  HADENS, 

Have  also  found  that  their  old  quarters  are  too  limi- 
ted for  the  increase  of  their  business,  and 
have  removed  to  a  more  spacious 
establishment, 
]Vos.  81  Chambers,  and  63  Reed  Streets. 

HOLDS  OUT  AT  THE  OLD  ESTABLISHED  STAND, 

No,  308  Broadway, 

Where  he  is  prepared,  as  usual,  to  fill  all  orders 

for 

PHOTOGRAPHIC  MATERIALS. 

Agent  for    Simons'  Book,   on   "  Coloring 
Photographs." 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/photographyinnutOOsimo 


Fi9  1 


PHOTOGEAPHY 

In  a  fat  S\M; 

OR, 

THE  EXPERIENCE  OF  AN  ARTIST 

IN  PHOTOGEAPHY, 
ON   PAPER,  GLASS  AND  SILVER, 

SSxlfe  Illustrations. 
By  M.  P.  SIMONS, 

Author  of  "  Plain  Instructions  for  Coloring  Photographs,"  &c. 


PHILADELPHIA : 
PRINTED  BY  KING  &  BAIRD,  No.  607  SANSOM  STREET. 
1  8  5  8  . 


Entered,  according  to  Act  of  Congress,  in  the  year  1858,  by 
M.  P.  SIMONS, 

In  the  Clerk's  Office  of  the  District  Court  of  the  United  States,  in  and 
for  the  Eastern  District  of  Pennsylvania. 


TO  THii 

Pemorg  of  f^e  Immortal 
DAGUERRE, 

TO  WHOSE  BRIGHT  GENIUS  AND  GENEROUS  HEART, 
THE  WORLD  IS  INDEBTED 
FOR  THE 

BEAUTIFUL  ART  OP  PHOTOGRAPHY. 

€^is  ILittle  JHanual, 

IN  BEHALF  OF  THE  PHOTOGRAPHERS  OF  THE 
UNITED  STATES, 

IS  MOST  RESPEOTFULLT  INSCRIBED 


CONTENTS. 

PREFACE   9 

INTRODUCTION   11 

THE  DAGUEREEOTYPB  PEOCESS. 

CLEANING  AND  POLISHING  THE  PLATE   17 

COATING  THE  POLISHED  PLATE   19 

TIMING  THE  PLATE  IN  THE  CAMERA   21 

POSITIONS   22 

TO  MERCURIALIZE  THE  PLATE   23 

CLEARING  THE  PLATE  WITH  HYDRO-SULPHATE  OP 

SODA   24 

GILDING  THE  PICTURE   25 

COLORING  DAGUERREOTYPES   27 

TO  MAKE  LIQUID  QUICK   29 

QUICK  TO  USE   80 

IODINE  TO  USE   31 

CHEMICAL  BOXES  IN  WINTER   32 

CHEMICAL  BOXES  IN  SUMMER   33 

TO  MAKE  DRY  QUICK   a8 

BUFFS   35 

GENERAL  INFORMATION  AND  USEFUL  HINTS   86 


viii 


CONTENTS. 


CONTINGENCIES  IN  DAGUEREEOTYPE 
PROCESS. 

TOO  MUCH  BROMINE  

TOO  LITTLE  BROMINE  

TOO  LITTLE  IODINE  

TOO  MIJCH  IODINE  

TOO  LITTLE  MERCURY  

TOO  MUCH  MERCURY  

DIRTY  PLATES  

THE  GILDING  PEALS  OFF  

TO  MAKE  STEREOSCOPIC  PICTURES  

BACKGROUNDS  

FANCY  BACKGROUNDS  

RESILVERING  DAGUERREOTYPE  PLATES  BY  THE 
BATTERY  

TO  PREPARE  THE  SILVER  SOLUTION  FOR  THE  BAT- 
TERY  

SILVERING  THE  PLATE  

TO  PUT  A  CAMERA  IN  FOCUS  

A  SIMPLE  METHOD  OF  MAKING  A  FILTER  

SEALING  PAPER  

THE  AMBROTYPE  PROCESS. 

PREPARING  THE  GLASS  FOR  COATING  

COATING  THE  PLATE  WITH  COLLODION  

DIPPING  THE  COLLODION  PLATE  

DRAINING  THE  EXCITED  PLATE  

TIMING  THE  PLATE  IN  THE  CAMERA  


CONTENTS.  ix 

DEVELOPING  THE  AMBROTYPE   62 

A  DESCRIPTION  OF  FIG.  3   6G 

MEMORANDUM   65 

COLORING  THE  AMBROTYPE   67 

BRUSHES  USED   68 

PUTTING  UP  THE  AMBROTYPE   63 

FORMULAE  IN  THE  AMBROTYPE  PROCESS,  GUN  COT- 
TON  69 

PLAIN  COLLODION   72 

TO  EXCITE  POSITIVE  COLLODION   72 

POSITIVE  BATH   73 

POSITIVE  DEVELOPER   74 

CLEARING  SOLUTION  FOR  POSITIVES  ,   74 

NEGATIVE  PEOCESS. 

CLEARING  THE  NEGATIVE   78 

THE  PRINTING  PROCESS   79 

SALTING  SOLUTION   80 

AMMONIA,  NITRATE  OF  SILVER   80 

TO  SILVER  THE  SALTED  PAPER   81 

PRINTING  «   82 

TONING  AND  FIXING. 

ON  THE  PERMANENCY  OF  PHOTOGRAPHS   85 

GOLD  TONING  BATH  ,   86 

TONING  BATH   89 

WASHING  AFTER  TONING   90 

MOUNTING  THE  PHOTOGRAPH  ON  CARD-BOARD   90 

VARNISHING  THE  PHOTOGRAPH   91 


X 


CONTENTS. 


FOEMULJE  IN  THE  NEGATIVE  PEOCESS. 


NEGATIVE  BATH   95 

TO  EXCITE  NEGATIVE  COLLODION,  No.  1   95 

NEGATIVE  COLLODION,  No.  2   96 

NEGATIVE  COLLODION,  No.  3   96 

STRENGTHENING  NEGATIVES   97 

HINTS  TO  BEGINNERS  IN  THE  NEGATIVE  AND  POSI- 
TIVE PROCESS   99 

FOGING   100 

STREAKS  AND  SPECKS   101 

HINTS  UPON  SILVER  BATHS   102 


PREFACE 


Although  so  much  has  been  written  upon 
the  subject  of  photography,  it  is  not  yet 
exhausted.  Almost  daily  some  curious  de- 
velopment is  made  in  this  beautiful  art, 
worthy  to  be  set  in  letters  of  gold.  No  art 
or  science  has  ever  been  favored  with  so 
much  time  and  talent  in  its  investigation  and 
advancement,  as  photography;  which  is  at- 
tributable solely  to  its  rare  fascinating  nature. 
And  yet  it  is  but  in  its  infancy — its  manhood, 
who  can  anticipate '?  Who  can  foretell  what 
will  be  its  ultimate  position  among  the  arts 
and  sciences  ;  or  what  will  be  the  full  extent 
of  its  application  and  usefulness  ?  The  won- 
derful advancement  it  has  made  towards  per- 
fection surprises'  the  most  sanguine.  Those 

who  expected  the  most  are  the  most  astonished 

2 


10 


PREFACE. 


at  its  present  condition.  How  extensive  and 
novel  has  been  its  application  already !  Old 
ocean  has  been  compelled  to  disclose  to  photo- 
graphy its  long  hidden  secrets.  And  the 
scholar  is  now  enabled,  by  its  magical  aid, 
to  decipher  at  home  in  his  own  studio  the 
time-worn  hieroglyphics  upon  the  Egyptian 
monuments.  Even  the  moon  has  been  vain 
enough  to  sit  for  a  full  and  three-quarter  face 
likeness,  lending  to  the  scientific  photographer 
its  own  silvery  light  for  its  accomplishment. 
Then  who  will  say  to  this  mysterious  art,  of 
the  nineteenth  century,  "  So  far  shalt  thou  go 
and  no  farther?"  None  but  He  who  gave  the 
waters  their  bounds  and  knows  the  cause  and 
effect  of  all  things. 


Green  Hill,  Philadelphia,  November,  1857. 


INTRODUCTION. 


It  appears  to  be  a  common  opinion,  that 
the  daguerreotype  picture  will  eventually  be 
superseded  by  the  ambrotype.  The  writer 
wishes  to  be  considered  among  the  exceptions 
to  this  opinion.  The  delicacy,  durability  and 
wonderful  minutiae  of  the  daguerreotype  has 
never  been  approached  by  any  of  the  improved 
pictures  recently  introduced.  Photography 
on  paper  is,  beyond  all  controversy,  the  high- 
est state  of  the  "Holographic  Art,"  yet  it 
does  not^ — to  use  a  mercantile  expression — 
come  in  competition  with  the  daguerreotype. 
Artistically  speaking,  the  photograph  bears 
the  same  relation  to  the  daguerreotype  that 
the  oil  portrait  does  to  the  water  colored 
miniature.  The  advantages  claimed  for  the 
ambrotype,  sink  into  insignificance,  when  com 


12 


INTRODUCTION. 


pared  with  the  rare  superiority  of  the  daguer- 
reotype. My  opinion  is  that  it  will  not  be 
long  before  public  taste  will  compel  photo- 
graphers to  give  their  attention  more  particu- 
larly to  daguerreotyping,  and,  I  have,  therefore, 
endeavored  to  give  this  neglected  branch  of 
photography,  in  the  fullest  and  most  compre- 
hensible manner.  There  are  other  modes  of 
operating,  in  all  three  branches  of  photography, 
besides  those  recommended  in  the  following 
pages.  But  I  have  deemed  it  advisable  to 
give  but  one  process  for  each,  being  much 
better  for  the  student  to  thoroughly  understand 
one  set  of  formulae,  than  to  have  but  a  smatter- 
ing idea  of  many.  Those  which  I  have  ven- 
tured to  explain,  the  result  will  show,  are  equal 
to  any  in  use.  In  giving  my  views  and  experi- 
ence upon  the  three  most  important  branches 
of  photography,  it  must  not  be  expected  that 
I  should  tread  altogether  an  untrodden  path; 
this  I  have  no  idea  of  attempting,  but  like 
an  old  traveller,  I  will  endeavor  to  point  out 
the  best  and  shortest  road  to  success.  Brevity 


INTRODUCTION. 


13 


and  clearness  should  be  the  chief  aim  of  all 
writers,  when  attempting  to  elucidate  a  sub- 
ject so  difficult  to  comprehend,  and  so  full  of 
detail  as  photography.  This  rule  I  have 
strictly  observed,  dwelling  upon  nothing  but 
what  is  absolutely  necessary  that  the  student 
should  perfectly  understand.  The  "  illustra- 
tions," "manipulations,"  and  "contingencies 
explained,"  have  bgen  prepared  and  described 
with  the  greatest  care,  with  the  hope  that  they 
may  prove  beneficial  to  the  student,  amateur 
and  professor,  who  have  no  fixed,  or  certain 
method  of  operating.  It  is  not  enough,  that 
a  process  should  be  capable  of  producing  the 
best  efifects,  but  it  should  do  so,  with  the 
greatest  certainty,  and  the  least  possible  trou- 
ble. The  public  are  now  too  well  schooled 
in  the  art  of  photography,  to  be  set  up  as 
heretofore,  like  lay-figures  to  be  experimented 
upon. 

2* 


THE  DAGUERREOTYPE  PROCESS. 


THE  DAGUEUEOTYPE  PROCESS. 


CLEANING  AND  POLISHING  THE  PLATE. 

This  is  the  first  important  step  in  daguer- 
reotyping,  and  although,  seemingly,  a  very 
simple  operation,  it  is  one  very  difficult,  in 
which,  to  become  proficient,  requiring  consid- 
erable practice  and  skill.  A  bad  picture  may 
be  made  on  a  clean  plate,  but  a  good  one 
cannot  be  made  upon  one  that  is  dirty.  Most 
failures  are  caused  by  imperfectly  cleaned 
plates, — bear  this  in  mind.  For  rubbing,  use 
the  finest  rotten  stone,  and  the  finest  Canton 
flannel,  with  alcohol  and  water  in  equal  pro- 
portions, use  less  alcohol  in  summer,  scour 
with  these  materials  until  all  the  planishing 
marks  have  disappeared,  which  will  require 
about  five  minutes  rubbing  for  new  ones,  and 
about  three  for  old  ones  ;  then  take  a  second 
piece  of  flannel  and  rub  until  the  rotten  stone 
is  efiectually  cleaned  off"  the  plate,  and  a  dull 


18 


THE   DAGUERREOTYPE  PROCESS. 


polish  is  obtained.  The  higher  the  finish 
produced  by  simply  rubbing  with  the  flannel, 
the  greater  is  the  probability  that  the  plate 
will  be  clean ;  endeavor,  therefore,  to  give  by 
this  first  operation  a  high  polish,  leaving  as 
little  as  possible  for  the  rouge  bufi*s  to  do. 
All  buff's  unless  kept  in  the  most  perfect 
order,  are  apt  to  deposit  a  scum^,  more  or 
less,  upon  the  plate,  which  will  very  materially 
efi*ect  its  brilliancy  and  sensitiveness.  The 
rule  to  be  observed  in  buffing  is  to  have  the 
buff's  well  cleaned  and  dry ;  they  should  be 
frequently  brushed  with  a  stiff  brush,  and 
fresh  rouge  dusted  upon  them,  make  the 
strokes  long  and  light;  if  the  pressure  is 
too  great,  the  polish  will  not  be  so  fine,  nor 
so  bright. 


*  Explanation  of  the  Frontispiece. 

Figures  1  and  2,  are  intended  to  represent  the  shades  of 
color  which  should  be  given  to  the  plate,  over  the  iodine  and 
bromine.  And  although,  the  rich  tints  produced  by  these 
chemicals,  cannot  be  very  closely  imitated  with  pigments,  yet 
the  amateur  will  find  the  colored  illustrations  very  useful, 
showing  the  depth  of  colors,  if  not  the  peculiar  shade  neces- 
sary to  produce  the  finest  effects  upon  the  daguerreotype 
plate. 


THE  DAGUERREOTYPE  PROCESS. 


19 


COATING  THE  POLISHED  PLATE. 


Immediately  after  the  plate  is  polished  and 
while  it  is  still  warm  from  the  buff,  it  should 
be  submitted  to  the  vapors  of  iodine,  dusting 
it  previously  with  a  soft  camel's  hair  brush. 
It  is  as  well  to  look  at  the  plate  several  times 
while  being  coated,  turning  it  each  time  end 
for  end,  to  insure  a  more  uniform  coating.  If 
the  iodine  goes  on  even,  the  quick  is  almost 
sure  to  follow  its  example.  Color  over  the 
iodine  to  match  as  near  as  possible  figure  1, 
(examine  the  color  as  it  progresses,  by  holding 
it  at  an  angle  of  forty-five  degrees,  against  a 
piece  of  clean  white  paper,  having  a  strong 
light  reflected  upon  it,)  then  over  the  quick 
until  it  assumes  the  color  of  figure  2,  and 
over  the  iodine  again  one-fourth  the  time 
given  at  first;  you  will  then  have  a  plate 
coated,  for  all  ordinary  purposes,  in  the  most 
perfect  manner.  When  a  more  sensitive  plate 
is  wanted,  for  making  likenesses  of  children, 
etc.,  it  will  be  necessary  to  coat  somewhat 
lighter  than  this  standard,  which  may  be  done 
very  readily  by  making  a  note  of  the  number 


20 


THE  DAGUERREOTYPE  PROCESS. 


of  seconds  it  required  to  produce  colors  No.  1 
and  2 ;  then  reduce  the  time  one-fourth. 
"When  a  still  greater  sensitiveness  is  wanted, 
expose  the  coated  plate  to  the  light  a  moment 
before  placing  it  in  the  camera.  This  though 
should  only  be  resorted  to  when  nothing  else 
will  answer,  as  plates  treated  in  this  manner 
are  apt  to  give  hazy  pictures.  The  same  end 
may  be  arrived  at,  and  probably  with  less 
risk  of  injuring  the  picture,  by  letting  the 
plate  stand,  after  it  is  coated,  from  fifteen  to 
thirty  minutes,  beyond  which  time  it  com- 
mences to  impair  and  loses  its  sensitiveness 
to  light,  but  may  be  restored  to  some  extent 
by  placing  it  over  the  iodine  again  for  a 
few  seconds. 


THE  DAGUERREOTYPE  PROCESS. 


21 


TIMING  THE  PLATE  IN  THE  CAMERA. 

For  this  part  of  the  operation  no  definite 
directions  can  be  given,  a  certainty  of  expo- 
sure cannot  be  attained  with  the  longest 
experience.  The  oldest  operators  are  only 
able  to  judge  by  former  sittings;  and  yet 
with  a  little  practice  the  youngest,  may  soon 
acquire  pretty  good  success  in  hitting  the  time 
of  exposure  to  the  light.  With  a  whole  size 
camera,  the  time  will  vary  from  seconds  to 
minutes  according  to  the  light. 


22 


THE  DAGUERREOTYrE  PROCESS. 


POSITIONS. 

No  set  rules  can  be  given  for  the  artistic 
arrangement  of  the  sitter  ;  and  yet  it  is  of 
the  utmost  importance,  and  is  more  under  the 
control  of  the  photographer,  than  any  other 
part  of  the  process ;  good  taste  and  long 
practice  will  alone  accomplish  perfection  in 
this  department.  It  is  adviseable  to  allow 
sitters  to  assume  their  natural  positions* 
which  if  awkward,  may  be  improved  upon, 
but  not  to  such  an  extent  as  to  lose  the 
likeness. 

Discountenance  the  practice  many  sitters 
have,  of  holding  bouquets,  books  and  oranges, 
in  their  hands,  as  it  reflects,  more  or  less, 
upon  the  taste  of  the  photographer. 


^  This  reminds  me  of  an  anecdote  of  Henry  Clay,  which  I 
will  now  relate,  being  interesting  and  somewhat  to  the  point. 
I  think  it  was  in  the  year  '49,  when  I  took  my  best  picture  of 
Mr.  Clay.  He  came  to  my  rooms  at  the  time  this  anecdote 
occurred,  in  company  with  his  friend,  Mr.  Potter,  who  was 
standing  by  when  I  asked  Mr.  Clay — as  I  am  in  the  habit  of 
asking  my  sitters — if  he  had  any  choice  of  position,  his  reply 
was,  "  None  whatever,  sir,  I  am  Clay  in  the  hands  of  a  Potter, 
let  him  mould  me  as  he  will." 


THE  DAGUERREOTYPE  PROCESS. 


23 


TO  MEECURIALIZE  THE  PLATE. 

The  mercury  should  be  kept  at  a  point  to 
develope  the  picture  in  about  three  minutes, 
which  will  be  between  seventy  and  eighty 
degrees  of  the  scales,  generally  attached  to 
the  baths ;  a  few  experiments  will  soon  deter- 
mine where  this  point  is.  It  should  be 
slightly  agitated  before  exposing  the  plate  to 
its  vapors.  The  plate  may  be  looked  at 
during  the  operation,  with  a  faint  light,  with- 
out doing  it  any  injury  whatever,  although 
time  as  a  general  thing  may  be  depended 
upon.  The  mercury  should  be  at  the  proper 
heat  when  the  plate  is  placed  over  it,  or  it 
should  be  approaching  the  maximum,  so  that 
it  will  reach  it  before  the  time  allowed  for 
mercurializing  expires.  When  the  mercury 
is  too  cold,  a  longer  time  will  not  make  up 
for  the  want  of  heat ;  the  effect  produced  will 
be  a  cold  blue  tone.  When  too  hot,  shorten- 
ing the  time  over 'its  vapors  will  not  give 
results  as  fine  and  brilliant,  as  though  it 
had  stood  at  the  proper  point,  Avith  a  longer 
time,  the  effect  will  be  coarse  with  black  dots 
of  mercury  over  the  whole  picture. 


24 


THE  DAGUERREOTYPE  PROCESS. 


CLEAEING  THE  PLATE  WITH  HYPO-SULPHATE 
OF  SODA. 

For  this  purpose  make  a  solution  of  hypo- 
sulphate  of  soda  and  water. 


When  dissolved,  filter,  and  it  is  ready  for 
use.  This  mixture  will  last  a  long  time,  by 
occasionally  adding  fresh  hypo-sulphate  of 
soda ;  it  should  be  filtered  frequently,  at  least 
every  morning;  sponge  or  cotton  answers 
very  v^^ell  for  this  purpose.  "When  the  pic- 
ture is  well  cleared,  which  should  always  be 
done  in  the  best  manner,  for  if  the  least  trace 
of  the  chemicals  should  be  left  upon  the 
plate,  it  will  sooner  or  later,  act  upon  its  sur- 
face, and  eventually  spoil  the  picture.  There 
are  a  great  many  daguerreotypes  spoiled  from 
this  cause  alone ;  and,  is  it  not  shameful,  when^ 
with  the  least  care,  it  may  be  prevented] 
Keep  the  wash  on  the  plate  for  some  time, 
even  after  the  picture  appears  to  be  cleared. 
Then  wash  in  plenty  of  water,  and  use  the 
same  care  to  get  off  the  soda,  as  recommended 
for  getting  off  the  iodine.  Wash  well,  both 
the  front  and  back,  and  it  is  ready  for  gilding. 


Water,  -  -  -  . 
Hypo-sulpliate  of  Soda, 


16  oz. 
2  oz. 


THE  DAGUERREOTYPE  PROCESS. 


25 


GILDING  THE  PICTURE. 

For  this  operation  make  a  solution  called 
hypo-sulphate  of  gold,  made  thus : 

Efypo-sulphate  of  soda,  60  gr. 

Chloride  of  gold,  15  gr. 

Water,  which  should  be  pure  and  soft,  -      -      -    24  oz. 

Mix  the  gold  and  soda  separately,  in  a  por- 
tion of  the  water — the  quantity  not  particular 
— then  add  the  gold  gradually  to  the  soda, 
shaking  it  all  the  time,  until  the  whole  is  well 
united,  which  will  take  several  minutes.  Fil- 
ter and  set  aside  for  a  few  hours  before  using  ; 
it  may  be  used  immediately,  but  the  result  is 
not  generally  so  good.  It  is  advisable  to 
make  gilding  solution  at  night,  and  filter  in 
the  morning.  Filter  very  frequently  and  very 
carefully,  through  two  thicknesses  of  the  best 
filtering  paper  or  cotton.  This  operation 
must  not  be  slighted,  or  you  will  be  troubled 
with  fine  brown  spots,  all  over  the  picture. 
As  soon  as  the  picture  comes  from  the  mer- 
cury and  pronounced  good,  its  edges  should  be 
bent  up  with  a  pair  of  plyers  or  otherwise,  so 
that  it  will  hold  the  gilding ;  take  the  plate 

3* 


26  '  THE   DAGUERREOTYPE  PROCESS. 

by  one  corner  with  the  plyers,  pour  on  as 
much  gilding  as  it  will  hold,  and  apply  the 
heat;  use  a  large  flame,  move  the  solution 
gently  to  and  fro,  to  insure  an  even  deposit 
of  gold.  The  greatest  care  must  attend  this 
operation,  as  upon  it  the  durability  of  the 
picture  depends.  Stop  the  operation  as  soon 
as  the  whites  are  clear,  assuming  a  yellowish 
hue.  If  continued  longer,  the  picture  will 
become  clouded  and  dull ;  on  the  other  hand, 
if  checked  too  soon,  it  will  fade  and  will  be 
liable  to  become  scratched  in  coloring.  After 
gilding,  the  plate  must  be  washed  in  plenty 
of  water,  and  then  dried,  using  as  little  heat 
as  possible.  The  black  or  brown  specks 
which  frequently  appear  upon  a  picture  after 
gilding,  is  owing  to  the  gilding  solution  not 
being  well  filtered.  They  may  be  removed 
with  cyanide  of  potass,  disolved  in  about  ten 
times  its  bulk  of  water ;  use  this  mixture  as 
you  do  gilding,  but  with  less  heat.  Wash  off 
carefully,  using  but  little  heat  in  drying. 


THE   DAGUERREOTYPE  PROCESS. 


27 


COLORING  DAGUERREOTYPES. 

If  you  color  your  pictures,  color  them  with 
taste ;  use  but  little  color  upon  the  brush  at 
first,  until  you  see  how  the  picture  will  take 
it.  All  daguerreotypes  are  not  equally  adapted 
to  color.  Those  which  have  been  slightly 
over-set,  and  fully  developed  over  the  mer- 
cury, are  the  most.  I  do  not  think  the  rich 
mezzotint  daguerreotype  is  improved  by  pig- 
%  ments;  The  student,  before  he  commences 
to  color  a  picture,  should  study  the  beautiful 
blending  of  light  and  shade  upon  it ;  he  will 
then  see  with  what  exquisite  delicacy,  and 
wonderful  defination,  nature  puts  in  her 
touches  of  light  and  shade.  We  cannot  ex- 
pect to  equal  her  exquisite  handling,  but 
having  such  perfect  models  before  us,  it  is 
expected  that  we  will  use  sufficient  care^  not 
to  mar  their  exquisite  beauty  with  paint. 
Use  for  the  local  flesh  color,  Indian  red  and 
chrome  yellow  mixed;  the  proportions  will 
depend  upon  the  tone  of  the  picture,  and 
complection  of  the  subject.  For  the  cheeks 
and  lips,  use  carmine  or  pink  madder.  For 


28 


THE   DAGUERREOTYPE  PROCESS. 


draperies,  use  Prussian  blue,  chrome  yellow, 
chrome  green,  Indian  red,  burnt  sienna,  burnt 
amber  and  Vandyke  brown.  For  hair,  sepia 
and  burnt  umber,  &c.  The  brushes  should 
be  pointed,  but  not  too  long ;  the  sable  will 
be  found  to  answer  best. 

Having  described  thus  far  the  daguerreo- 
type process,  the  next  in  order  will  be  the 
formulae  connected  with  the  art;  together 
with  the  manipulation,  which  have  not  been 
given,  and  other  information. 


THE   DAGUERREOTYPE  PROCESS. 


29 


TO  MAKE  LIQUID  QUICK. 

Put  into  an  eight  ounce  tincture-mouthed 
bottle  one  ounce  of  good  alcohol,  to  this  add 
as  much  best  iodine  as  it  will  take  up— shake 
while  adding — then  add  one  ounce  of  best 
German  bromine,  and  four  or  five  ounces  of 
pure  soft  water.  If  there  are  any  doubts 
about  the  water  being  pure,  add  a  few  drops 
of  nitric  acid.  An  excess  of  bromine  should 
be  left  in  the  bottom,  the  object  of  which  is 
to  keep  the  quick  at  a  uniform  strength. 
This  quick  the  writer  has  used  successfully 
for  many  years,  and  therefore  has  the  greatest 
confidence  in  recommending  it  to  others. 


30 


THE   DAGUERREOTYPE  PROCESS. 


QUICK  TO  USE. 

Put  into  a  deep  whole  plate  box,  a  sufficient 
quantity  of  water, — prepared  if  necessary,  as 
directed  for  making  quick  with  a  few  drops 
of  acid — to  cover  the  bottom  about  one  inch 
deep,  and  add  enough  quick  to  give  it  a  pale 
brandy  color,  or  until  it  produces  the  proper 
hue  to  the  iodized  plate,  between  ten  and 
forty  seconds.  Its  exact  strength,  however, 
cannot  be  ascertained  until  some  time  after 
the  box  has  been  charged. 


THE   DAGUERREOTYPE  PROCESS. 


31 


IODINE  TO  USE. 

The  best  method  of  using  dry  iodine  is  a 
very  simple  one,  and  can  be  given  in  a  few 
words.  Spread  evenly,  upon  the  bottom  of  a 
whole  plate  box,  one  ounce  of  iodine,  upon 
which  lay  a  piece  of  paper — ^filtering  paper  I 
find  to  answer  best.  In  summer  use  a  much 
smaller  quantity  of  iodine;  common  sense 
will  soon  dictate  this.  It  is  much  better  to 
keep  adding  a  few  grains  daily,  than  to  be 
troubled  with  an  excess  of  vapor,  and  be 
compelled  to  let  it  escape  into  the  room, 
which  is  never  very  pleasant,  if  wholesome 
when  taken  in  such  allopathic  doses. 


32 


THE   DAGUERREOTYPE  PROCESS. 


CHEMICAL  BOXES  IN  WINTER. 

The  temperature  of  an  operating  room 
should  never  be  allowed  to  fall  below  sixty 
degrees  Fahrenheit,  and  even  then  in  ex- 
tremely cold  weather  the  boxes  should  be 
warmed  by  the  fire.  This  should  never  be 
neglected ;  the  tone  of  a  daguerreotype  de- 
pends as  much  upon  the  temperature  of  the 
room  and  chemicals,  as  upon  their  peculiar 
composition.  This  is  no  longer  theory,  but 
settled  practice.  I  have  found  it  impossible 
to  produce  even  the  proper  color  upon  a  plate 
when  the  chemicals  were  cold. 


THE   DAGUERREOTYPE  PROCESS. 


33 


CHEMICAL  BOXES  IN  SUMMER. 

In  summer  the  chemicals  should  be  kept 
in  a  cool  place,  and  their  strength  should  be 
kept  quite  moderate,  otherwise  they  will  be 
found  very  unmanageable,  and  just  as  impos- 
sible to  produce  fine  results  as  when  too  cold. 


TO  MAKE  DRY  QUICK. 

As  this  quick  is  so  much  in  use,  being 
easy  to  manage,  and  in  its  effects  so  nearly 
like  the  quick  I  have  recommended,  that  I 
will  describe  a  mode  of  making  it.  For  a 
whole  sizie  box,  select  a  piece  of  fresh  shell 
lime,  about  the  size  of  a  hen's  egg ;  slack  by 
soaking  in  water  for  about  one  minute ;  water 
that  has  been  previously  saturated  with  lime 
will  hasten  the  operation,  and  seems  to  an- 
swer better.  Have  the  lime  rather  under- 
slacked,  bromine  and  air  will  soon  finish  the 

slacking ;  add  as  much  bromine  to  this  as  it 

4 


34 


THE   DAGUERREOTYPE  PROCESS. 


will  take  up,  without  leaving  an  excess  of 
vapor  in  the  vessel  in  which  it  is  made..  Use 
as  directed  to  use  the  liquid  quick,  and  coat 
about  the  same  color,  except  that  the  iodine 
may  be  a  little  deeper.  In  a  day  or  two  this 
quick  will  be  ready  for  use,  when  it  should 
be  spread  evenly  upon  the  bottom  of  a  box. 
The  quantity  will  depend  upon  the  season  of 
the  yoar ;  it  should  be  strong  enough  to  coat 
in  about  twenty  seconds.  The  same  lime  will 
last  a  long  time ;  it  can  be  strengthened  up  by 
adding  more  from  the  bottle,  or  by  adding 
bromine  in  small  quantities. 


THE   DAGUERREOTYPE  PROCESS. 


85 


BUFFS. 


Hand  biilFs  are  preferable  to  wheels,  for 
small  plates,  and  since  photographs  have  been 
introduced,  large  daguerreotypes  are  seldom 
or  ever  called  for.  Hand  buffs  are  made  of  a 
great  variety  of  shapes,  and  covered  with  a 
variety  of  materials.  Buckskin  is  the  best, 
and  decidedly  the  most  economical.  I  will 
give  a  description  of  the  kind  I  use :  length, 
twenty-two  inches;  width,  from  two  and  a 
half  to  three  and  a  half  inches,  according  to 
the  size  plate  to  be  buifed ;  shape,  slightly 
curved  from  end  to  end,  with  a  handle  either 
in  the  middle  or  at  one  end  like  a  plane. 
The  face  is  covered  with  four  or  five  thick- 
nesses of  cotton  flannel ;  tack  neatly  upon  this 
a  piece  of  fine,  soft  buckskin,  which  can  be 
had  of  the  dealers,  prepared  for  the  purpose. 
Two  buffs  of  this  description  will  answer,  one 
to  buff*  down  with,  and  the  other  to  be  kept 
for  finishing.  To  get  a  new  buff*  in  order, 
fill  its  surface  with  lamp-black  and  rouge,  and 
rub  it  in  well  with  cotton,  or  buff*  hard  upon 
an  old  plate  for  several  hours,  until  the  leather 


36 


THE   DAGUERREOTYPE  PROCESS. 


appears  black  with  silver.  A  new  buff  will 
never  work  so  well,  as  one  that  has  been 
carefully  used  for  several  months. 


GENERAL  INFORMATION  AND  USEFUL  HINTS. 

In  copying  daguerreotypes,  &c.,  the  fol- 
lowing rules  should  be  observed.  Firstly, 
have  the  plate  perfectly  cleaned,  and  as  free 
as  possible  from  scratches.  Secondly,  coat 
rather  heavy  with  iodine,  and  endeavor  to  get 
it  on  evenly.  Thirdly,  use  a  small  diaphragm. 
Fourthly,  copy  in  the  sun,  and  if  a  still  greater 
amount  of  light  is  wanted,  reflect  it  with  a 
mirror.  Fifthly,  give  less  mercury  by  one- 
fifth,  than  for  a  portrait  from  life.  Dia- 
phragms should  always  be  used  in  the  camera, 
when  the  light  is  sufiiciently  strong  to  admit 
of  it.  They  may  be  used  also  to  advantage 
in  making  pictures  from  life,  the  extra  sharp- 
ness and  defination  resulting  from  their  use, 
will  more  than  pay  for  the  extra  time  it  takes 
for  a  sitting  with  a  good  subject. 


THE   DAGUERREOTYPE   PROCESS.  31 

Dark  drapery — especially  velvet — requires 
more  quick  than  lighter,  to  produce  the  proper 
tone.  A  plate  coated  full,  over  the  iodine, 
slightly  over-set,  and  fully  mercurialized,  will 
give  a  white  picture;  that  is,  provided  the 
plate  has  been  well  cleaned.  No  satisfactory 
tone  can  be  depended  upon,  unless  the  plates 
are  perfectly  cleaned.  The  rich  greenish 
tones  are  produced  by  a  slight  excess  of  quick 
on  a  clean  plate,  buffed  with  a  new  buff,  after 
it  has  been  well  worked  in  with  rouge.  This 
style  of  daguerreotype  will  stand  rather  more 
gilding  than  the  white  tone,  and  looks  better 
without  color  than  with  it.  Mix  the  chemi- 
cals at  night,  so  as  to  have  them  ready  in  the 
morning,  for  use.  The  gold  should  be  filtered 
always  before  using ;  keep  a  bottle  of  cyanide 
of  potassium  dissolved,  ready  for  removing 
specks  caused  by  gilding.  It  is  also  useful 
for  removing  stains  and  spots  from  old 
pictures. 

Strengthen  up  the  quick  early  in  the  morn- 
ing, and  7iot  at  night,  for  unless  the  boxes  are 
perfectly  tight,  the  very  life  of  the  quick  will 
escape  before  morning,  that  which  should  be 
used  in  making  the  finest  pictures.    If  the 

boxes  are  not  tight  set  them  aside,  and  get 

45K 


38 


THE   DAGUERREOTYPE  PROCESS. 


those  that  are.  Deep  boxes  are  always  pre- 
ferable for  chemicals  especially  in  warm 
weather. 

Hypo-sulphate  of  soda  can  be  used  over 
and  over  again,  until  it  becomes  saturated 
with  iodine,  which  will  be  indicated  by  a 
dirty  red  color.  It  should  be  filtered  every 
morning,  and  kept  free  from  dust. 

Mercury  should  be  kept  covered  up  at 
night,  and  filtered  every  few  days,  through  a 
cone  made  of  stifi*  paper.  If  the  mercury  is 
wet  before  running  it  through,  it  will  cleanse 
much  more  effectually.  Four  or  five  ounces 
of  mercury  will  be  sufficient  for  any  size  bath, 
and  will  develop  thousands  of  pictures. 

Buff's  should  be  kept  dry.  In  damp  weather 
they  should  be  set  by  the  fire,  or  in  an  oven, 
heated  with  a  spirit  lamp. 


CONTINGENCIES  EXPLAINED 


IN  THE 


DAGUERREOTYPE  PROCESS. 


THE   DAGUERREOTYPE  PROCESS. 


41 


TOO  MUCH  BROMINE. 

A  picture  with  an  excess  of  bromine  has  a 
dull  leaden  appearance,  the  whites  are  of  a 
dirty  yellow,  and  the  blacks  gray.  It  must 
be  kept  in  mind  though,  that  there  is  a  dis- 
tinct difference  between  getting  too  much 
quick  upon  a  plate,  from  a  coating  box  in 
good  working  order,  and  from  one  when  the 
bromine  is  too  strong.  The  latter  will  pro- 
duce a  plate  clouded  with  dark  spots.  Plates 
coated  in  this  manner  it  would  be  useless  to 
set,  as  no  length  of  exposure  would  produce 
a  picture  upon  them.  The  only  remedy  is 
to  let  off  some  of  the  vapor  and  if  still  too 
strong  add  a  little  water. 


4 


42 


THE   DAGUERREOTYPE  PROCESS. 


TOO  LITTLE  BROMINE. 

•  A  picture  with  too  little  bromine  has  an 
olive  green  appearance,  and  unless  the  chemi- 
cal is  quite  weak,  it  is  caused  by  the  eye  being 
deceived  in  the  color  while  coating.  Study 
the  color  m  figure  2,  try  to  imitate  it  more 
closely,  and  if  it  cannot  be  done,  in  sixty  sec- 
onds, the  quick  is  too  weak  and  should  be 
strengthened  up.  Chemicals  should  be  tried 
in  the  morning,  to  ascertain  how  they  are 
working,  and  if  too  strong  put  in  a  small  por- 
tion of  water ;  if  too  weak,  add  a  few  drops  of 
quick  from  the  bottle,  "When  the  quick  is  in 
the  best  working  order,  it  will  coat  in  from 
ten  to  fifty  seconds,  and  should  be  kept  ranging 
between  these  points — at  all  times.  In  warm 
weather  especially,  the  minimum  time  should 
not  be  less  than  twenty  seconds. 


THE   DAGUERREOTYPE  PROCESS.  43 


TOO  LITTLE  IODINE. 

A  picture  with  too  little  iodine,  has  a  dull 
greenish  appearance,  and  is  apt  to  turn  darker 
under  the  hypo-sulphate  wash.  Gilding  will 
not  improve  pictures  of  this  description. 


TOO  MUCH  IODINE. 

Too  much  iodine  will  produce  a  thick  blue 
picture,  dull  in  the  high  light,  and  a  bluish 
gray  in  the  shadows.  No  amount  of  gilding 
will  bring  up  the  whites  to  the  proper  tone. 


44 


THE   DAGUERREOTYPE  PROCESS. 


TOO  LITTLE  MERCURY 


When  a  picture  appears  of  a  sky  blue  color 
all  over  except  the  shadows,  the  exposure  to 
the  light  has  been  too  long,  and  the  exposure 
over  the  mercury  too  short ;  for  when  a  plate 
has  been  properly  coated  and  sufficiently  mer- 
curialized, if  set  too  long,  a  white  picture 
will  be  the  result,  and  not  a  blue  one.  When 
the  mercury  is  not  hot  enough  or  wants  fil- 
tering, the  picture  will  have  a  pink  cast  of 
color,  many  times  nothing  but  its  contour 
can  be  seen. 


TOO  MUCH  MERCURY. 

Too  much  mercury  upon  a  picture  is  in- 
dicated by  black  dots  in  the  shadows  of  the 
drapery  and  hair;  the  high  lights  are  not  so 
bright,  and  the  whole  picture  will  not  be  so 
sharp  as  though  it  had  been  properly  mer- 
curialized. 


THE   DAGUERREOTYPE  PROCESS. 


45 


DIRTY  PLATES. 

A  dirty  plate  will  show  itself  whilst  being 
coated  over  the  iodine,  and  still  more  plainly 
over  the  quick,  the  iodine  goes  on  uneven,  and 
instead  of  a  bright,  clear  yellow,  or  golden 
color,  it  is  dull  and  heavy.  The  quick  goes 
on  in  greenish  spots,  instead  of  a  rich  deep 
purple.  Plates  coating  in  this  manner,  it 
would  be  useless  to  set ;  a  clean  plate  will  take 
the  chemicals  in  less  time  than  one  that  is 
dirty,  though  the  mercury  seems  to  act 
slower  upon  plates  not  properly  cleaned, 
another  indication  of  a  dirty  plate,  is  the 
unusual  length  of  exposure  required  to  make 
a  picture,  even  in  a  strong  light. 


THE  GILDING  PEALS  OFF. 

When  this  occurs  in  gilding,  the  gilding 

solution  is  too  strong,  and  should  be  reduced 

with  water,  or  less  heat  should  be  used.  When 

5 


46  THE   DAGUERREOTYPE  PROCESS. 

a  white  scum  or  cloulds  appear  upon  the  sur- 
face during  this  operation,  the  proportion  of 
hypo-sulphate  is  too  great;  correct  by  adding 
chloride  of  gold  in  small  quantities. 


TO  MAKE  STEEEOSCOPIC  PICTUEES. 

This  wonderful  and  beautiful  style  of  picture 
has  never  been  appreciated  according  to  its 
merits,  and  I  am  inclined  to  think  that  the 
fault  is  not  on  the  part  of  the  public,  but  rather 
with  the  photographer,  for  not  using  that 
judgment  and  care  in  making  them  they 
require.  In  order  that  they  may  be  made 
with  as  little  trouble  as  possible,  I  will  explain 
briefly,  the  most  simple,  and  I  think  the  best 
mode. 

Procure  a  plate  shield  arranged  in  the  back, 
so  that  a  quarto  plate  can  be  moved  lengthwise 
to  the  right  and  left  at  pleasure,  with  a  square 
opening  in  the  front  just  sufficient  to  expose 
one  half  of  the  plate  at  a  sitting.  Buff  the 
plate  lengthwise,  coat  in  the  ordinary  manner, 
then  place  it  in  this  sliding  shield,  take  the  first 
focus  on  the  right  side  of  the  sitter,  and  expose 
the  left  end  of  the  plate,  (i.  e.  the  left  side  of 


THE   DAGUERREOTYPE  PROCESS. 


47 


the  operator  as  he  faces  the  sitter,)  when 
suiSciently  exposed,  stop  off  the  light,  and 
move  the  camera  for  an  ordinary  size  picture, 
about  eight  inches  in  a  direct  line  to  the 
left — the  sitter  keeping  the  eyes  fixed  upon 
the  same  point,  and  remaining  perfectly  still 
during  both  operations — adjust  the  focus  again, 
and  expose  the  right  end  of  the  plate,  about 
one-fifth  less  time  than  the  first.  It  is  very  im- 
portant to  produce  the  finest  results,  that  the 
plate  should  receive  the  highest  possible  polish, 
and  be  free  from  specks  and  scratches,  and 
lastly  be  careful  not  to  over-mercurialize  ;  the 
fault  had  better  be  on  the  other  side.  Stereo- 
scopes should  be  very  carefully  sealed  up,  to 
prevent  dust  from  getting  between  the  glass 
and  plate,  which  effect  very  considerably  the 
beauty  of  the  picture  when  magniiipd. 

Stereoscopes  may  also  be  made  on  paper  and 
glass,  by  observing  the  above  directions  with 
these  exceptions,  that  the  second  sitting  must 
have  the  same  length  of  exposure  to  the  light 
as  the  first,  and  must  not  be  forced  too  much 
in  developing,  or  the  picture,  when  magnified, 
will  have  a  gray  dotted  appearance,  somewhat 
like  the  effect  pijoduced  by  too  much  mercury 
upon  a  daguerreotype  picture. 


48 


THE   DAGUERREOTYPE  PROCESS. 


BACKGROUNDS. 

There  are  a  great  many  colors  suitable  for 
backgrounds,  such  as  blues,  drabs,  grays  and 
white.  White  produces  the  best  effect  upon 
ambrotypes.  Avoid  red,  green,  yellow  and 
black,  for  either  style  of  picture. 


FANCY  BACKGROUNDS. 

Fancy  backgrounds  may  be  used  to  advan- 
tage, but  they  must  be  of  the  most  artistical 
character,  and  adapted  to  your  subject's  age, 
profession,  &c. 


THE   DAGUERREOTYPE  PROCESS. 


49 


RESILYERING  DAGUERREOTYPE  PLATES  BY 
THE  BATTERY. 

When  the  student  is  sufficiently  advanced 
in  the  art  of  daguerreotyping,  he  may  be 
desirous  of  learning  the  battery  process,  for 
the  purpose  of  resilvering  his  plates.  There 
are  works  published,  devoted  exclusively  to 
galvanism,  which  the  student  should  procure 
and  study,  in  order  to  understand  more  per- 
fectly its  peculiar  and  mysterious  nature, 
when  the  directions  I  am  about  to  give  will 
be  much  better  comprehended. 

Smee's  batteries,  will  be  found  the  cleanest 
and  the  most  economical,  ^hey  are  composed 
of  zinc  and  platinized  silver,  set  in  a  glass 
tumbler,  excited  with  sulphuric  acid ;  when  the 
battery  is  not  in  use  it  should  be  taken  apart, 
and  washed;  the  zinc  should  be  kept  well 
amalgamated  with  mercury,  which  saves  the 
metal  and  makes  the  action  more  vigorous. 
Batteries  of  this  description  can  be  purchased 

of  most  dealers  in  photographic  materials. 

5* 


50 


THE  DAGUERREOTYPE  PROCESS. 


TO  PREPARE  THE  SILVER  SOLUTION  FOR  THE 
BATTERY. 

Dissolve  silver  coin  with  strong  nitric  acid ; 
when  dissolved,  precipitate  with  common  table 
salt;  wash  the  precipitate  in  several  waters 
until  no  trace  of  acid  is  left,  which  may  be 
ascertained  by  tasting;  then  dissolve  the 
precipitate — which  is  chloride  of  silver — in  a 
saturated  solution  of  cyanide  of  potassium; 
weaken  with  as  much  more  water,  and  it  will 
be  ready  for  the  solution  dish.  Use  a  large 
flat  plate  of  pure  silver  for  the  negative  pole. 
The  silver  solution  will  require  to  be  strength- 
ened up  every  few  days  with  cyanide  and 
silver.    Keep  the  wires  clean  and  bright. 


THE  daguj:rreotype  process.  51 


SILYERING  THE  PLATE. 


Before  the  plates  are  silvered  they  should 
be  polished  in  the  brightest  manner.  Stir  up 
the  solution  when  they  are  put  in — which  in 
a  measure  will  prevent  streaking  and  staining. 
The  connection  should  be  made  simultaneous 
with  the  dipping ;  leave  in  until  they  become 
sky  blue — the  most  sensitive  color — and  should 
not  be  much  deeper,  except  for  such  as  have 
been  gilt,  which  should  have  a  white  coat, 
dried  off,  rubbed  down,  polished  and  silvered 
again,  until  they  are  of  a  clear  sky  blue  color. 
Silvering  by  the  battery  has  many  advantages, 
making  the  plate  more  sensitive  to  light, 
giving  better  whites  and  blacks,  and  enabling 
the  operator  to  have  his  plates  in  a  condition 
always  ready  for  use  at  a  moment's  notice. 
I  have  used  plates  successfully  that  have  been 
galvanized  over  twelve  months,  by  merely 
buffing  them  in  the  usual  manner  required  for 
plates  recently  silvered. 


52  THE   DAGUERREOTYP|)  PROCESS. 


TO  PUT  A  CAMERA  IN  FOCUS. 

Set  on  end  three  or  more  books,  plainly 
lettered  on  the  back.  Take  the  focus  on  the 
middle  one,  set  a  plate,  and  if  the  focused 
book  comes  out  the  sharpest,  then  the  camera 
is  in  good  focus ;  should  the  nearest  one  appear 
the  sharpest,  the  ground  glass  must  be  set 
back  from  the  tube.  The  exact  distance  can  be 
ascertained  by  marking  the  tube  while  in 
focus  on  the  middle  book,  and  then  moving 
it  until  the  nearest  one  is  in  focus ;  mark  again 
and  measure  the  space  between  the  two  marks, 
which  is  the  distance  the  ground  glass  should 
be  moved  back,  and  vice  versa^  if  the  farthest 
book  should  come  out  the  sharpest.  As 
simple  as  this  operation  is,  I  have  known 
many  to  be  very  much  perplexed  with  it. 


THE   DAGUERREOTYPE  PROCESS. 


53 


A  SIMPLE  METHOD  OF  MAKING  A  FILTER. 

Take  a  small  tuft  of  clean  cotton,  soak  it  in 
alcohol  and  crush  it  slightly  in  the  funnel. 
For  filtering  most  chemicals,  such  as  gilding, 
solution,  ammonia,  nitrate  of  silver,  collodion, 
silver-bath,  &c.,  it  will  answer  as  well  as 
paper,  and  will  frequently  be  found  more  con- 
venient. When  collodion  is  to  be  filtered,  it 
should  be  thinned  as  much  as  it  will  bear,  that 
it  may  pass  freely  through  the  cotton.  Lay  a 
piece  of  fiat  glass  on  the  top  of  the  funnel  to 
prevent  loss  by  evaporation. 

Funnels  are  made  for  this  purpose,  which 
would  soon  prove  a  great  saving. 


54  .    THE  DAGUERREOTYPE  PROCESS. 


SEALING  PAPER. 

The  strongest  and  the  best  sealing  paper  for 
putting  up  daguerreotypes,  &c.,  is  made  in  the 
follow  manner,  and  with  the  following  named 
materials. 

Boil  three  or  four  ounces  of  fish  glue,  in  water 
sufficient  to  make  it  a  stiff  paste  ;  strain  it  and 
add  about  two  drachms  of  the  tincture  of  ben- 
zoin; stir  it  up  and  spread  it  evenly  upon 
strong  vanilla  paper,  with  a  flat  bristle  brush  ; 
hang  up  to  dry  and  it  is  ready  for  use. 


THE  AMBROTYPE  PROCESS. 


THE  AMBROTYPE  PROCESS. 


PREPARING  THE  GLASS  FOR  COATING. 

I  HAVE  found  that  the  more  simple  the 
operation  of  cleaning  glass  is  performed  the 
more  satisfactory  are  the  results,  and  have 
therefore  adopted  the  following  mode,  assuring 
the  student  that  if  he  attends  strictly  to  the 
directions  I  am  about  to  give,  he  need  never 
fail  to  have  clean  glasses,  upon  which  the 
finest  results  may  be  produced. 

First  Grind  or  file  the  edges,  on  one  side 
only,  of  all  new  glasses.  This  answers  a 
double  purpose,  saving  the  fingers,  and  desig- 
nating which  side  of  the  glass  is  cleaned,  as 
it  would  be  useless  to  bestow  much  pains 
upon  but  one  side, 

Second.  Let  them  lay  in  a  bath  for  several 

hours,  composed  of  one  part  nitric  acid  and 

6 


58 


THE  AMBROTYPE  PROCESS. 


eight  or  ten  parts  water,  the  exact  proportions 
not  important. 

Third.  "Wash  well  in  plenty  of  clean  water, 
and  set  np  to  dry ;  after  which,  all  that  is  ne- 
cessary is  to  dust  off  and  coat. 


COATING  THE  PLATE  WITH  COLLODION. 

This  is  a  nice  operation,  requiring  much 
care  and  practice.  Hold  the  glass  at  one 
corner,  either  in  the  right  or  left  hand, 
which  ever  upon  trial  will  be  found  the  most 
convenient,  and  pour  on  the  collodion  at  one 
end,  see  that  it  covers  the  plate  evenly,  and 
without  any  delay,  letting  the  excess  drain 
hack  into  the  bottle,  working  the  plate  at  the 
same  time  to  and  fro,  which  tends  to  prevent 
the  checkered  appearance  so  frequently  ob- 
servable in  negatives  when  new  collodion  is 
used. 


THE  AMBROTYPE  PROCESS. 


59 


DIPPING  THE  COLLODION  PLATE. 

When  the  film  upon  the  plate  is  nearly  set, 
being  slightly  adhesive  to  the  touch,  which 
will  usually  take  not  over  fifteen  seconds,  it 
should  be  dipped  very  carefully,  without  any 
hesitation  in  the  silver  bath.  It  is  advisable 
to  keep  the  plate  in  gentle  motion,  for  a  few 
seconds,  just  before  taking  it  out  of  the  bath. 
This  should  not  be  done  until  the  plate  has 
been  immersed  at  least  half  the  time  required 
to  excite  it.  The  object  of  keeping  it  in 
motion  is  to  wash  away  the  greasy  appearance 
seen  upon  the  plate,  caused  by  the  ether 
refusing  to  mix  with  the  water.  The  sooner 
this  is  efi*ected,  the  sooner  will  the  plate 
absorb  its  maximum  quantity  of  silver,  and 
should  be  immediately  set  whilst  its  sensi- 
tiveness is  at  its  height.  The  length  of  time 
that  a  collodion  plate  should  be  immersed  in  ^ 
the  silver  bath  will  depend  upon  various 
causes. 

First.  The  strength  of  the  bath  and  its 
temperature. 


60 


THE  AMBROTYPE  PROCESS. 


Second.  The  proportions  of  ether  and  alcohol 
in  the  collodion,  and  thickness  of  the  film,  and 
the  quantity  of  excitant  it  contains. 

If  the  temperature  is  between  sixty  and 
seventy,  Fahrenheit,  which  it  should  be ;  the 
bath  from  forty  to  fifty  grains  strong,  the 
proper  strength ;  and  the  collodion  very 
heavily  iodized,  it  will  require  a  very  few 
minutes,  even  less  than  a  minute  will  fre- 
quently suffice.  Yet  when  the  silver  bath  is 
in  good  order,  neither  too  neutral,  too  acid, 
nor  too  alciline,  a  plate  may  remain  immersed 
any  reasonable  length  of  time  without  doing 
it  any  injury. 

The  appearance  of  a  plate  properly  sensi- 
tized, is  an  opake  yellow  white,  resembling 
somewhat  white  kid  leather.  If  after  the 
plate  has  been  immersed  for  three  or  five 
minutes,  it  has  a  bluish  cast  of  color,  the 
collodion  employed  has  not  been  sufficiently 
iodized.  The  proportions  probably  have  been 
reduced  by  thinning  too  often,  the  collodion 
too  slight,  or  the  bath  too  weak.  The  cause 
however  is  mostly  attributable  to  the  former. 
Correct  by  adding  to  the  collodion  iodide  of 
ammonium.    If  the  fault  is  in   the  bath, 


THE  AMBROTYPE  PROCESS  61 

strengthen  by  adding  a  saturated  solution  of 
nitrate  of  silver.  Other  particulars  upon 
collodions,  baths,  etc.,  will  be  found  in  another 
place. 


DRAINING  THE  EXCITED  PLATE. 

When  the  plate  is  taken  from  the  bath,  it 
should  be  well  drained  for  at  least  thirty  or 
forty  seconds.  This  care,  besides  saving  the 
silver,  prevents  in  a  great  measure  the  lia- 
bility to  streaking  and  staining,  so  annoying 
to  the  photographer.  Have  the  holders 
wiped  dry  after  each  sitting.  Arrange  the 
sitter  whilst  the  plate  is  in  the  bath,  which 
will  occupy  about  the  same  length  of  time. 


6* 


THE  AMBROTYPE  PROCESS. 


TIMING  THE  PLATE  IN  THE  CAMERA. 

The  time  required  for  an  ambrotype,  will 
of  course  vary  with  the  light,  sensitiveness 
of  the  plate,  and  power  of  the  camera; 
consequently  no  set  rules  can  be  given. 


DEYELOPING  THE  AMBEOTYPE. 

This  is  the  most  delicate  manipulation 
in  ambrotyping.  The  whole  tone  of  the 
picture  turns  upon  this  point,  and  not  so 
much  depends  upon  the  developer  as  upon  the 
skill  and  experience  of  the  operator^  hnowing 
at  what  particular  moment  to  arrest  the  develop^ 
ment.  If  continued  beyond  a  certain  point 
the  picture,  being  properly  timed,  will  be 
frosty  and  opaque,  with  fine  dots  in  the 
shadows  like   a  daguerreotype  over-timed. 


THE  AMBROTYPE  PROCESS.  68 

both  in  the  camera  and  over  the  mercury. 
On  the  other  hand,  if  arrested  too  soon,  under 
similar  circumstances,  before  the  development 
is  complete,  the  picture  will  be  thick  and 
dull  in  the  shadows.  Hair  and  drapery 
wanting  in  defination.  And  again,  if  the 
development  is  continued  too  long  upon  a 
plate  under-set,  its  appearance  will  be  harsh, 
high  light,  grey  and  flat,  resembling  some- 
what a  daguerreotype  forced  with  mercury. 

We  see  that  there  is  but  little  latitude 
between  the  maximum  and  the  minimum 
point  in  the  development  of  the  ambrotype. 
Therefore  it  is  necessary  to  watch  very  care- 
fully the  operation  as  it  progresses.  The 
developer  must  not  be  too  strong,  or  the 
change  produced  would  be  too  sudden,  and 
its  eff*ect  upon  the  plate  could  not  be  checked 
as  soon  as  desirable,  or  in  the  anxiety  to 
have  it  just  right,  it  may  be  stopped  too 
soon,  and  in  either  case  the  picture  would 
be  spoiled  as  a  work  of  art. 

Before  sitting  the  plate,  pour  a  sufficient 
quantity  of  the  developer  into  a  convenient 
sized  vessel — a  small-size  tumbler  answers 
a  good  purpose — ready  for  developing  the 
exposed  plate,  which  should  be  done  with 


64 


THE  AMBROTYPE  PROCESS. 


the  least  possible  delay.  The  solution  should 
be  poured  on  very  gently,  but  quickly,  hold- 
ing the  vessel  containing  it  close  to  the  plate 
that  it  may  cover  the  surface  evenly  and 
at  once.  If  applied  with  too  much  force 
upon  a  delicate  collodion,  it  will  produce 
a  dark  spot  where  it  first  touches,  much  to 
the  detriment  of  the  picture.  It  must  now 
be  evident,  as  I  have  stated  at  the  outset, 
that  the  process  of  developing  the  ambrotype 
is  the  most  delicate  operation  connected  with 
the  art  of  photography.  And  not  only  is 
it  a  delicate  operation,  requiring  much  care 
and  practice  to  produce  the  finest  effects, 
but  one,  from  its  peculiar  nature,  the  most 
difiicult  to  describe  by  mere  words.  I  have, 
therefore,  to  elucidate  my  description  more 
effectually,  prepared  an  illustration  which  will 
be  found  facing  page  65. 


THE  AMBROTYrE  TROCESS. 


65 


A  DESCRIPTION  OF  FIG.  3. 

Fig.  3  represents  an  ambrotype,  the  de- 
velopment of  which  having  been  checked 
at  the  exact  point — washed  off,  and  ready 
for  the  clearing  solution.  This  illustration 
will  furnish  to  the  student  a  very  good  idea 
of  a  positive  at  this  delicate  stage  of  the 
process.  The  water  upon  the  glass  plate 
would,  of  course,  give  a  gloss,  and  somewhat 
alter  its  appearance.  The  student  will,  there 
fore,  make  an  allowance  for  this,  as  it  would 
be  impossible  to  give,  upon  paper,  a  closer 
imitation. 

MEMORANDUM. 

The  original  picture,  of  which  this  illustra- 
tion is  a  careful  copy,  was  made  upon  a 
white  background ;  time  in  the  camera,  five 
seconds;  the  sitter  wore  a  black  suit.  The 
collodion,  bath  and  developer  used  were  the 
same  as  I  have  recommended  in  the  ambro- 
type  process.    Similar  effects,  however,  can 


66 


THE  AMBROTYPE  PROCESS. 


be  produced  with  most  other  processes,  if 
the  development  is  arrested  at  the  proper 
point.     In  developing,  the  face  should  be 
the  p;tincipal  guide,  as   draperies  develope 
according  to  their  material  and  color.  For 
example,  dark  silk  velvet  developes  slowly, 
whilst  white  satin,  on  the  contrary,  appears 
almost  instantly  under  the  ordinary  developer. 
When  the  proof  is  properly  brought  out,  it 
must  be  carefully  washed  in  plenty  of  water, 
that  all  traces  of  iron   and  acid   may  be 
removed.    The  clearing  solution  should  be 
used  in  a  flat  dish.    This  part  of  the  process 
is  attended  with  no  difficulty  whatever;  the 
time  required  for  clearing  varies  from  one 
to  five  minutes,  according  to  circumstances. 
The  best  way  to  judge  when  a  proof  is 
entirely  cleared,  is   to   examine  it  on  the 
obverse  side.     After  clearing   it   must  be 
washed  again  in  plenty  of  water,  and  set 
away  carefully  to   dry.     For  this  • -purpose 
nails  are  driven  in  the  wall  a  few  inches 
apart,  and  the  plates  are  set  upon  them, 
face  inwards.    The  drying  can  be  hurried 
with  a  spirit  lamp;  yet  it  is  far  better  to 
allow  them  to  dry  spontaneously.    It  may 
be  as  well  to  state  here  that  negatives  are 


THE  AMBROTYPE  PROCESS.  6T 

benefitted  by  drying  in  this  way,  as  heat 
renders  the  film  tougher,  and  less  liable  to 
become  scratched  in  printing. 


COLOEING  THE  AMBROTYPE. 

Ambrotypes  can  be  colored  in  the  same 
manner  and  with  the  same  colors  used  for 
coloring  daguerreotypes ;  there  are  some  ex- 
ceptions to  this  rule,  among  which,  are  car- 
mine and  the  lakes,— the  most  useful  colors, 
with  the  daguerreotyper, — but  are  too  light  to 
adhere  to  the  collodion  plate,  and  they  do  not 
imitate  flesh  so  closely  as  they  do  upon  the 
silver  plate,  which  probably  is  the  greatest 
objection  to  their  use.  The  chromes,  umbers, 
raw  and  burnt  seinna,  Prussian  blue,  Indian 
red  and  Venitian  red,  will  answer  to  com- 
pound all  the  tints  desired  for  coloring  ambro- 
types. For  black — which  answers  finely  for 
subduing  other  colors — use  lamp-black,  made 
by  holding  a  piece  of  glass  over  a  fluid  lamp. 


68 


THE  AMBROTYPE  PROCESS. 


BRUSHES  USED. 

The  brushes  for  coloring  ambrotypes  should 
be  of  the  finest  quality  of  sable,  and  of  various 
sizes.  The  points  of  some  should  be  quite 
sharp,  while  others  for  draperies,  &c.,  may  be 
blunt,  but  soft  and  elastic. 


PUTTING  UP  THE  AMBROTYPE. 


The  very  best  mode  of  putting  up  ambro- 
types is  the  following:  Lay  another  glass 
upon  the  collodion  side,  separating  them  with 
thin  strips  of  card  board ;  then  seal  the  edges 
with  a  cement  composed  of  beeswax  and 
rosin,  in  equal  parts,  melted  together,  and 
used  while  warm.  This  will  secure — without 
varnishing — the  collodion  picture  much  better 
than  any  other  method.  Above  all  things,  if 
you  have  any  regard  for  your  patrons,  never 
seal  with   balsam,  the   hermitically  sealing 


THE  AMBROTYPE  PROCESS.  69 

varnish^  as  pictures  sealed  in  this  manner 
fade  and  blister  in  a  short  time. 

This  balsam  process,  for  which  a  patent  has 
been  so  foolishly  granted,  is  a  cheat  upon  the 
public,  and  should  be  frowned  down,  by  all 
honest  operators.  When  the  picture  requires 
to  be  brightened  up,  seal  with  gum-demar, 
dissolved  in  pure  turpentine,  which,  in  time, 
becomes  almost  as  solid  as  the  glass  itself. 


FOEMUL^  IN  THE  AMBKOTYPE  PROCESS. 
GUN  COTTON. 

This  article  can  be  procured  ready  manu- 
factured, yet  it  is  much  better  that  the  photo- 
grapher should  understand  thoroughly  ^  ow  to 
manufacture  it  for  himself,  otherwise  he  may 
have  to  put  up  with  an  indifferent  article, 
when  no  remedy  is  at  hand.  I  will  therefore 
give  directions  for  making  it,  and  explain  as 
far  as  I  am  able,  all  the  contingencies  attend- 
ing its  preparation : 

Sulphuric  aeid,  (C.  P.)      .      .       .       .  *    1  oz. 

Nitric  acid,  (CP.)  1  oz. 

Cotton,  (finely  carded,)     .      .      .      .     80  gr. 


70 


THE  AMBROTYPE  PROCESS. 


Put  the  acids  together  in  a  mortar  or  bowl, 
and  let  it  stand  for  a  few  minutes  until  it 
becomes  cool,  then  put  in  the  cotton,  stirring 
it  up  until  it  is  fully  saturated  with  the  acids, 
when  it  should  be  covered  up  and  set  away 
for  five  or  six  hours;  turn  it  over  several 
times  during  this  operation.  When  the  ac- 
tion of  the  acids  is  thought  to  be  sufficient,  it 
is  then  to  be  washed  in  plenty  of  running 
water.  This  should  be  done  very  expediti- 
ously, changing  the  water  several  times,  to 
get  out  the  acids,  as  soon  as  possible.  When 
all  the  acid  is  removed — which  can  be  tested 
with  litmus  paper — it  should  be  dryed  quickly 
or  washed  in  alcohol,  changing  the  alcohol 
two  or  three  times,  to  be  certain  that  no 
water  remains.  In  this  state,  it  can  be  dis- 
solved in  the  ether  and  alcohol,  which  answers 
much  better  than  though  it  had  been  allowed 
to  dry  first.  Gun  cotton  may  be  tested  in  the 
following  manner:  when  perfectly  dry,  set 
fire  to  a  small  portion  of  it,  and  if  no  ashes 
is  left,  the  acids  have  been  too  strong.  If  it 
burns  without  explosion,  like  ordinary  cotton, 
leaving  a  large  proportion  of  black  ashes 
behind,  the  acids  have  been  too  weak.  If  it 
explodes  quickly  like  gunpowder  making  but  a 


THE  AMBROTYPE  PROCESS. 


n 


small  portion  of  coal,  then  the  acids  have  been 
of  the  proper  strength,  and  it  will  bq,  found — 
if  the  ether  and  alcohol  are  pure — that  good 
collodion  will  be  the  result.  If  the  cotton 
dissolves  in  the  acids,  the  probability  is,  that 
the  mixture  has  been  too  hot,  it  should  invari- 
ably be  allowed  to  cool  for  several  minutes 
before  the  cotton  is  immersed.  On  the  other 
hand,  if  it  burns  during  the  operation,  emit- 
ting red  vapor,  the  acids  contain  too  much 
water,  causing  the  action  to  be  too  violent — 
sulphuric  acid  should  be  kept  well  corked,  as 
it  attracts  moisture  so  readily. 

Another  formulae  for  making  gun  cotton : — 

Refined  nitre,  ...         3  ozs. 

Oil  of  vitriol,  .  .  .       2J  ozs. 

Pulverize  the  nitre  in  a  mortar,  and  dry  it 
over  a  spirit  lamp,  put  in  the  acid,  let  it  stand 
a  few  moments,  then  put  in  the  cotton,  have 
it  well  saturated  with  the  acid,  and  set  away, 
cover  up  close  for  five  or  six  hours.  Either 
of  these  processes  will  make  good  gun  cotton, 
and  it  is  difficult  for  the  writer  to  say  which 
is  the  better  of  the  two,  having  been  equally 
successful  in  making  good  collodion  by  both 
methods. 


72 


THE  AMBROTYPE  PROCESS. 


PLAIN  COLLODION. 

Ether,  ....  10  ozs. 
Alcohol,  absolute     .         .         .  6  ozs. 

Dissolve  in  this  mixture,  a  sufficient 
quantity  of  gun  cotton,  to  make  a  collodion 
that  will  flow  evenly  over  the  plate. 


TO  EXCITE  POSITIVE  COLLODION. 

Collodion,         .         .         .         .      1  oz. 
Bromide  of  cadmium,    .         .         .2  grs. 
Iodide  of  cadmium,       .         .         .4  grs. 

These  chemicals  will  readily  dissolve  in  the 
collodion  without  first  being  dissolved  in 
water,  which  is  an  advantage,  as  water  pro- 
duces an  injurious  efi*ect  upon  the  collodion. 


THE  AMBROTYPE  PROCESS. 


73 


POSITIVE  BATH. 

Water,.         .         .         .         .      16  ozs. 
Nitrate  of  silver,       .         .         .        1  oz. 
Iodide  of  cadmium,  about      .         .        3  grs. 

Mix  these  well  together  and  filter:  this 
should  be  done  in  the  dark.  After  it  has 
stood  a  while,  test  with  litmus  paper,  which 
should  be  turned  slightly  red  after  an  immer- 
sion of  a  few  seconds,  but  if  it  does  not,  add 
a  few  drops  of  nitric  acid  until  it  does.  This 
is  the  best  bath  for  positives  known.  Yet 
the  same  bath  used  for  negatives,  will  answer 
for  positives  by  adding  a  few  drops  of  nitric 
acid  to  the  ounce  of  developer,  which,  in  a 
measure,  will  make  up  for  the  want  of  it  in 
the  silver  bath.  Nitrate  of  silver  produces 
the  best  positives  whilst  the  acetate  of  silver 
gives  the  most  intense  negatives. 


74 


THE  AMBROTYPE  PROCESS. 


POSITIVE  DEVELOPER. 

Water,  .....  32  ozs. 
Proto- sulphate  of  iron,^.  .  .  2J  ozs. 
Acetic  acid,  No.  8,  .  .  ,  3J  ozs. 
Alcohol,  .         .         .         .2  ozs. 

Grind  the  iron  in  a  mortar,  filter,  and  add 
the  acid  and  alcohol.  It  has  been  recom- 
mended not  to  add  the  acid,  until  just  before 
using,  but  this  I  have  found,  from  actual 
experiment  to  be  a  useless  precaution.  De- 
veloping solution  will  be  as  effective,  if  not 
more  so,  a  week  old  as  when  first  made. 


CLEARING  SOLUTION  FOR  POSITIVES. 

Water,         ....  16  ozs. 

Cyanide  of  potassium,         .         .  2  ozs. 

This  solution  should  never  be  thrown  away, 
as  it  gets  better  with  age,  filter  and  keep 
adding  cyanide  of  potassium,  as  it  weakens. 

After  each  of  these  processes  of  developing 
and  clearing,  use  an  abundance  of  water. 


THE  KEGATIYE  PROCESS. 


THE  NEGATIVE  PROCESS. 


In  many  particulars  the  negative  process  is 
similar  to  the  positive ;  and  only  so  far  as  it 
differs,  will  it  be  necessary  for  my  purpose  to 
enter  into  any  of  its  details.   The  most  impor- 
►  tant  difference  is  in  the  time  of  exposure  to 
the  light.    The  collodion  bath  and  developer, 
are  also  different,  yet  a  negative  can  be  made 
by  the  positive  process,  and  even  ambro types 
have  been  rendered  sufficiently  intense  to 
print  pretty  fair  positives  from.    The  glass  is 
prepared  with  the  same  care,  and  in  the  same 
manner  as  for  positives;  coating  and  dipping 
the  plate  are  the  same.    A  negative  sufficient- 
ly intense  should  be  produced  in  about  double 
the  time  required  for  an  ambrotype ;  hence,  it 
is  an  easy  matter  to  ascertain  the  proper  time 
to  give  one,  by  first  taking  an  ambrotype  and 
noting  the  time  it  took.    When  a  negative  is 
properly  timed,  the  picture  will  appear  almost 
as  soon  as  the  developer  is  flooded  upon  its 
surface.    Keep  the  developer  upon  the  plate 
until  the  middle  tints  of  the  face  are  seen  by 
transmitted  light,  or  until  it   produces  no 
further  change   which   does  not  generally 
exceed  thirty  or  sixty  seconds. 


IS 


THE  NEGATIVE  PROCESS. 


CLEARING  THE  NEGATIVE. 

For  this  purpose  use  the  following  mixture. 

Hyposulpliate  of  soda,  .  .  .  .  4  oz. 
Water,  ,      .     16  oz. 

Filter  before  using.  This  solution  can  be 
used  over  and  over  again,  the  proportions  are 
not  arbitrary,  as  it  becomes  weak  add  more 
soda ;  this  strengthening— ^if  the  solution  is  in 
constant  use — will  be  required  every  day. 
The  operation  of  clearing  may  be  hastened  in 
winter  by  warming  the  solution.  When 
thoroughly  cleared,  which  may  be  readily 
seen  by  examining  the  obverse  side,  it  should 
be  washed  in  plenty  of  water,  and  either 
allowed  to  dry  spontaneously  or  by  means  of 
a  gentle  heat.  Some  collodion  (especially  that 
which  has  been  made  a  long  time,)  is  very  lia- 
ble to  become  scratched  in  printing,  when  this 
is  the  case,  the  film  should  be  protected  with 
some  suitable  varnish,  I  have  found  nothing 
to  answer  better  than  bleached  shellac  dis- 
solved in  dbsoliUe  alcohol.  Put  the  shellac 
in  the  alcohol,  and  let  it  stand  for  several  days ; 
then  pour  off  the  clear,  and  dilute  it  about 
one  third  with  absolute  alcohol.  To  use  this, 
warm  the  negative  very  slightly,  and  pour  on 


THE  NEGATIVE  PROCESS. 


79 


the  varnish  as  you  would  collodion';  set  away 
to  dry  free  from  dust,  and  in  a  few  hours  it  will 
be  ready  for  printing ;  all  negatives,  however 
tough  the  film,  should  be  protected  with  varnish, 
when  a  large  number  of  copies  are  wanted. 
Another  plan,  although  not  quite  so  durable, 
is  to  flood  gum  arable  upon  the  plate  whilst  it 
is  still  wet,  after  washing.  This  answers  very 
well  when  only  a  small  number  of  impressions 
are  wanted,  but  not  otherwise.  Varnish 
lessens  the  intensity  of  a  negative,  therefore 
those  that  are  weak  should  not  be  varnished. 


THE  PRINTING  PROCESS. 

This  is  the  most  fascinating  as  well  as  the 
most  particular  stage  in  photography,  and  like 
all  the  preceding  ones,  much  depends  upon 
careful  manipulation.  In  the  first  place  none 
but  the  best  make  of  paper  should  be  used ; 
all  experienced  operators  agree  that  Saxe's — a 
German  manufacture — is  the  best,  which  must 
be  prepared  in  the  following  manner : 


80 


THE  NEGATIVE  PROCESS. 


SALTING  SOLUTION. 

Water,  64  oz. 

Chloride  of  ammonium,  ....        2  dm. 

Make  this  solution  in  a  clean  shallow  dish, 
run  the  paper  through  two  or  three  times,  or 
until  it  becomes  evenly  wetted  all  over,  then 
hang  up  to  dry  in  a  clean  place  free  from  dust. 
Salted  paper  will  last  a  length  of  time,  if  kept 
flat  in  a  dry  place,  a  port  folio  answers  well 
for  this  purpose.  The  same  solution  may  be 
used  a  number  of  times,  it  should  be  filtered 
before  using.  When  the  prints  tone  up  too 
red,  increase  the  proportion  of  salt  to  the 
ounce  of  water. 


AMMONIA,  NITRATE  OF  SILYER. 

Dissolve  one  ounce  of  nitrate  of  silver  in 
sixteen  ounces  of  distilled  water,  when  dis- 
solved pour  one  eighth  out  into  a  separate 
vessel.  To  the  bulk  add  ammonia  drop  by 
drop,  until  the  whole  is  converted  into  a  dark 
olive  precipitate,  which  is  ammonia  of  silver. 
When  at  this  point,  watch  very  carefully,  and 


THE  NEGATIVE  PROCESS. 


81 


keep  adding  the  ammonia  until  the  solution 
clears  up  without  an  excess  of  ammonia. 
Then  add  the  reserved  eighth  of  silver,  which 
will  make  it  slightly  turbid,  silver  being  in 
excess,  which  should  always  be,  for  preparing 
plain  paper  for  printing.  This  solution  should 
be  filtered  always  before  using. 


TO  SILVER*  THE   SALTED  PAPER. 

Lay  the  paper  down,  pinning  it  at  each  end, 
on  a  clean  piece  of  board,  made  a  trifle  smaller 
than  the  paper,  to  be  silvered.  Fix  a  bunch 
of  cotton  upon  a  glass  rod,  with  this  brush  the 
ammonia  nitrate  of  silver  upon  the  paper, 
use  plenty  of  silver,  and  brush  it  evenly  and 
carefully  all  over  the  surface.  This  operation 
should  not  be  hurried.  Cast  the  eye  across 
the  surface  and  see  that  there  are  no  dry 
spots — if  any  appear,  it  must  be  gone  over 
again  with  more  silver.  After  the  paper  is 
silvered,  hang  it  up  in  a  dark  place,  free  from 
dust  and  chemicals.  And  not  until  it  is  per- 
fectly dry  will  it  be  fit  for  printing.  The  fore- 
going applies  to  plain  paper  only,  Albumenised 

paper  is  sold  ready  salted,  and  should  be  very 

8 


82 


THE  NEGATIVE  TROCESS. 


carefully  floated  upon  plain  silver  solution  for 
about  five  minutes.  This  plain  solution  is 
simply,  nitrate  of  silver  dissolved  in  distilled 
water,  sixty  grains  to  the  ounce  of  water. 
Both  of  these  solutions  should  be  very  care- 
fully filtered  before  using. 


PRINTING. 

The  time  it  takes  to  print  positives,  varies 
from  one  minute  to  sixty,  according  to  the 
light,  and  the  intensity  of  the  negative.  A 
good  negative  prints  slower  than  a  poor  one, 
owing  to  its  intensity — a  quality  all  negatives 
should  possess  to  a  large  extent.  The  student 
wall  soon  be  able  to  judge  by  the  appearance 
of  the  proof,  when  it  is  sufficiently  printed. 
The  deep  shadows  should  be  of  a  dark  bronze 
color,  to  allow  for  toning.  As  the  positives  are 
printed,  they  may  be  laid  carefully  aside  in 
the  dark,  and  when  too  late  to  print,  they 
can  then  be  toned,  and  washed  altogether, 
which  will  insure  a  much  greater  uniformity 
of  color,  than  when  they  are  put  into  the  bath, 
one  after  the  other  as  they  are  printed. 


TONINa  AND  FIXING. 


TONING. 


ON  THE   PERMANENCY   OF  PHOTAGRAPHS. 

A  great  deal  has  been  said  and  written 
upon  the  fading  of  photographs.  It  is  now, 
however,  a  settled  fact,  that  they  are,  with 
the  proper  treatment,  as  permanent  as  any 
other  description  of  picture.  The  photo- 
grapher should  bestow  his  especial  attention 
and  greatest  care  upon  this  branch  of  his  art. 
It  should  be  a  matter  of  principle  with  him, 
as  well  as  one  of  business  and  profit,  to  have 
his  photographs  fixed  indelibly.  The  fixing 
process  given  below,  will  be  found,  not 
only  durable,  but  one  producing  the  most 
brilliant  and  beautiful  effects,  and  although 
somewhat  more  expensive  than  the  old 
method,  it  should  always  be  adopted  for  first 
class  pictures.  I  will  give  the  manipulation 
and  formulae  of  this  process  in  the  order  in 
which  they  are  to  be  used.  In  the  first  place 
after  the  print  partakes  of  the  proper  tone, 

which  must  not  be  much   darker  than  a 

8* 


86 


THE  NEGATIVE  PROCESS. 


jBnished  picture,  as  this  mode  of  toning  and 
fixing,  produces  very  little  change  upon  the 
printed  photograph.  It  should  be  immersed 
in  clean  water,  containing  a  small  quantity  of 
salt,  to  remove  all  the  chloride  of  silver — this 
will  require  about  five  minutes — then  well 
wash  in  plenty  of  water,  and  it  is  ready  for 
the  gold  bath  made  in  the  following  manner. 


GOLD  TONING  BATH. 

Chloride  of  gold,  .  .  .  15  grs. 

Hyposulphate  of  soda,  .  .  90  grs. 

Water,  .  ...  24  ozs. 

Dissolve  the  gold  and  hyposulphate  of  soda 
separately,  in  a  small  portion  of  the  water,  then 
add  the  gold  to  the  hyposulphate  of  soda, 
sha:ke  well,  add  the  remainder  of  the  water,  and 
the  bath  is  ready  for  use^  and  will  tone  several 
hundred  prints. 

For  bright  sepia  or  violet  tones,  leave  the 
prints  in  this  bath — when  new — from  five  to 
seven  minutes.    For  the  darker  or  blue-black 


THE  NEGATIVE  PROCESS. 


8t 


tones,  leave  in  about  ten  minutes.  When  the 
desired  tones  are  produced,  they  must  be 
washed  again  in  pure  running  water  for  at 
least  five  minutes,  then  carried  to  the  final 
clearing  or  fixing-bath.  Composed  of  hypo- 
sulphate  of  soda  and  water. 

Hyposulphate  of  soda,  .  ,  .4  ozs. 

Water,         .         .         .         .         .24  ozs. 

Immerse  the  proof  in  this  bath  until  it 
looks  clear  by  transmitted  light,  which  usually 
requires  from  ten  to  fifteen  minutes,  according 
to  the  strength  and  temperature  of  the  solu- 
tion. From  this  bath  they  are  again  placed 
in  running  water  over  night,  face  downward. 
It  must  be  remembered,  that  during  the  whole 
of  this  operation  up  to  the  last  soda  bath,  that 
the  proof  is  sensitive  to  light,  and  should, 
therefore,  be  conducted  in  a  darkened  room. 
Besides  permanency,  this  process  possesses 
another  and  a  very  great  advantage  over  the 
other  toning  baths,  which  is,  that  the  photo- 
grapher can  print  his  proof  very  nearly  the 
tone  or  shade  he  pleases  without  any  fear  of 
its  changing  to  any  great  extent  in  the  opera- 
tion of  toning ;  he  will,  consequently,  be  care- 
ful not  to  print  much  deeper  than  he  wishes 


88 


THE  NEGATIVE  PROCESS. 


it  to  be  when  finished.  Experience— dearly 
bought — has  taught  me  that  this  is  the  toning 
bath.  I  have  subjected  prints,  treated  in  this 
manner,  to  the  severest  tests,  viz.,  exposing 
them  for  a  length  of  time  to  the  strong  sun- 
light, leaving  them  all  night  in  a  concentrated 
hyposulphate  of  soda  bath,  etc.  I  have  even 
tried  the  effect  of  coal  gas  upon  them,  and  I 
am  happy  to  state  that  this  experiment,  the 
severity  of  which  would  be  ruinous  to  the 
ambrotype,  had  no  visible  effect  upon  the 
photograph,  proving  that  they  are,  when 
properly  fixed,  as  indelible  as  they  are 
beautiful.  It  is  a  singular  ,  fact,  that  neither 
the  daugerreotype  nor  photograph  are  perma- 
nent without  chloride  of  gold,  and  yet  the 
nature  of  the  two  pictures  are  so  very  different. 

As  some  may  desire  a  less  expensive  bath, 
one  not  quite  so  complicated,  I  will  give  the 
formulae  of  one,  but  cannot  speak  so  positive 
as  to  its  preservative  qualities,  as  I  can  of  the 
former. 


THE  NEGATIVE  PROCESS. 


89 


TONING  BATH. 


Dissolve  four  ounces  of  hyposulphate  of 
soda  in  sixteen  ounces  of  water.  Saturate  this 
solution  with  chloride  of  silver,  then  dissolve 
about  fifteen  grains  of  chloride  of  gold  in 
about  two  ounces  of  water.  Add  this  dis- 
solved gold  gradually  to  the  hyposulphate  of 
soda,  shaking  it  well  to  insure  an  intimate 
chemical  mixture ;  then  add  about  four  drops 
of  muriatic  acid.  The  older  this  solution  is, 
the  better  it  will  work,  that  is,  if  the  gold  and 
hyposulphate  of  soda  are  kept  up.  I  have 
known  this  bath  to  give  fine  rich  tones — and 
apparently  durable — when  it  had  been  in  use 
over  two  years.  The  strength  of  this  toning 
solution  should  be  kept  as  uniform  as  possible, 
by  replenishing  it  every  day  or  two  with 
hyposulphate  of  soda  and  chloride  of  gold,  the 
quantity  to  be  regulated  by  the  number  of 
prints  toned  daily.  I  have  endeavored  to  be 
particular  in  giving  clear  and  definite  direc- 
tions for  toning  and  fixing,  as  it  certainly  is, 
an  important  part  of  photography.  Toning 


90 


THE  NEGATIVE  PROCESS. 


with  gold  is  to  the^  photograph  what  gilding 
is  to  the  daugerreotype,  neither  would  be 
durable  without  its  agency. 


WASHING  AFTEB  TONING. 

After  the  photograph  is  toned,  it  must  be 
well  washed  in  plenty  of  running  water  for  at 
least  twelve  hours,  otherwise  it  would  be 
likely  to  fade  in  a  very  short  time.  The  face 
of  the  print  should  be  turned  downwards  whilst 
being  washed — hung  up  to  dry,  on  pins  fixed 
in  calks,  to  prevent  staining. 


MOUNTING  THE  PHOTOGRAPH  ON  CARD- 
BOARD. 

For  this  purpose  use  gum  arable  and 
gelatin  mixed.  Six  parts  gum  arable  to 
one  of  gelatin,  water  sufficient  to  make  a 
thick  paste,  after  it  has  been  boiled  down. 


THE  NEGATIVE  PROCESS. 


91 


YARNISHINa  THE  PHOTOGRAPH. 

After  the  photograph  is  mounted,  it  may  be 
varnished  with  this  same  article,  some  use  the 
gelatin  alone :  the  great  point  is  to  have  the 
varnish  of  the  proper  consistence  and  well 
strained.  Apply  with  a  good  brush — hog- 
hair  will  be  found  the  best  for  the  purpose. 
Varnishing  should  only  be  applied  to  plain 
photographs,  those  intended  to  be  colored 
should  be  rubbed  or  burnished,  which  renders 
the  surface  much  better  for  coloring.  Another 
plan  in  use,  with  some  water  colorists,  is  to 
float  the  back  of  the  photograph  upon  a  weak 
solution  of  gum  arable,  about  one  part  gum 
to  twenty  parts  water.  This  will  give  a  hard- 
ness to  the  paper  well  adapted  to  coloring. 


FOMULiE  IN  THE  NEGATIVE  PROCESS. 


FORMULA  IN  THE  NEGATIVE 
PROCESS. 


NEGATIVE  BATH. 

Water,  .  .         .  .         .   12  oz. 

Nitrate  of  silver,  .         .       "  .         .     1  oz. 

Iodide  of  ammonia,         .  .  .  .     3  gr. 

Filter  and  add  acetic  acid  suflBlcient  to  turn 
litmns-paper  a  pale  red. 


TO  EXCITE  NEGATIVE  COLLODION. 
No.  1. 

Collodion,  .         .         .         .         .     1  oz. 

Bromide  of  ammonia,  .  .  .     1  gr. 

Bromide  of  cadmum,        .  .  .         .    1  gr. 

Iodide  of  ammonia,  .  .  ,  .    4  gr. 

Make  these  excitants  fine,  by  pulverizing 
them  in  a  glass  mortar,  then  add  them  to  the 
collodion,  and  shake  until  the  collodion 
becomes  colored.  Let  stand  over  night  and 
it  will  be  ready  for  use.    The  result  will  be 


96  FORMULA  IN  THE  NEGATIVE  PROCESS. 


better  if  the  cotton  is  put  in  last,  after  the 
ether  and  alcohol  have  been  excited,  with  the 
desired  chemicals. 

NEGATIVE  COLLODION. 


No.  2. 

Collodion,       .         ,         ,  .  .  .  1  oz. 

Bromide  of  potash,     .         .  .  .  .  2  gr. 

Iodide  of  potash,        .         .  .  .  .  4  gr. 

NEGATIVE  COLLODION. 
No.  3. 

Collodion,       .  .       .  .  .  .  1  oz. 

Bromide  of  potash,  .  .  .  .  J  gr. 

Bromide  of  ammonia,         .  .  •  •  J  gi*- 

Bromide  of  cadmine,  .  .  •  •  i  gi'* 

Iodide  of  potash,  .  .  .  .  1  gr. 

Iodide  of  ammonia,  .  .  .  .  2  gr. 

Iodide  of  cadmine,  .  .  .  .  1  gr. 


The  above  I  have  used  and  found  good ;  it 
is  founded  upon  the  idea,  that  mixed  collodion 
works  more  smoothly,  though  I  am  inclined  to 
think  that  it  is  age  which  gives  it  this  quality. 

There  are  a  number  of  other  excitants  for 
collodions,  such  as  the  iodides  and  bromides 
of  magnesia,  &c.,  but  they  have  been  found 
upon  frequent  trials,  to  be  inferior  to  either  of 
those  I  have  mentioned. 


FORMULA  IN  THE  NEGATIVE  PROCESS.  9Y 


STRENGTHENING  NEGATIVES. 

Very  frequently  negatives,  owing  to  the 
collodion,  state  of  the  bath,  or  want  of  light, 
are  too  weak  to  print  from,  the  proofs  are 
undefined  in  the  drapery,  and  without  high 
^  light  in  the  face.  Such  negatives  may  be 
very  considerably  improved  by  submitting 
them  to  a  chemical  process,  technically  called 
intensifying^  or  strengthening.  There  are  many 
modes  of  accomplishing  this  end,  but  the  fol- 
lowing I  have  used  in  preference  to  any  of 
the  others : 

Water,         .         .         .  .  .    16  oz. 

Sulphuret  of  potassium,        .  .  .     2  oz. 

This  solution  is  poured  freely  upon  the 
negative,  and  kept  in  motion,  after  it  has  been 
cleared  and  washed,  but  before  it  is  dry.  It 
may  be  done  even  after  it  has  been  dried,  by 
wetting  it  again.  Although  it  is  attended 
with  some  little  risk,  being  apt  to  stain  or 
split  and  peal  off.  The  first  application  of 
this  intensify er  has  the  effect  of  making  the 
negative  appear  more  positive;  that  is,  the 


98  FORMULA  IN  THE  NEGATIVE  PROCESS. 

picture  is  seen  more  distinctly  by  reflected 
light.  Keep  on  the  solution  until  this  posi- 
tive appearance  disappear,  w^hich  w^ill  seldom 
exceed  five  or  six  minutes ;  wash  afterwards  in 
plenty  of  water^  and  set  up  carefully  to  drain 
and  dry. 


THE  NEGATIVE  PROCESS. 


99 


HINTS  TO  BEGINNERS  IN  THE  NEGATIVE  AND 
POSITIVE  PROCESS. 

Too  much  ether  in  collodion  retards  the  ac- 
tion of  light,  whilst  alcohol  in  excess  facihtates 
it.  A  plate  takes  longer  to  excite  in  the  silver 
bath  when  ether  is  in  excess,  but  it  does  not 
require  so  long  to  set  ready  for  the  bath,  as 
when  alcohol  predominates.  I  have  seen  it 
somewhere  recommended  to  thin  collodion  in 
summer  with  alcohol  only.  This  I  think  is 
a  mistaken  idea,  as  collodion  must  contain  a 
certain  proportion  of  ether^  and  if  it  evapo- 
rates faster  in  warm  weather — which  it  does- 
leaving  the  alcohol  behind,  it  is  the  ether  and 
not  the  alcohol  which  should  be  added.  The 
best  method  of  thinning,  is  with  a  thin  collodion 
properly  excited.  A  collodion  which  has  been 
prepared  for  several  days,  will  give  the  most 
intense  nega^;ives,  and  the  prints  will  be  much 
finer. 

When  a  negative  or  positive  developes 
slowly,  the  sitting  has  been  too  short,  and  the 
developer  should  in  consequence  be  kept  on  a 


100 


THE  NEGATIVE  PROCESS. 


much  longer  time  than  usual,  although  the 
full  effect  cannot  be  produced  by  this  means. 

An  ambrotype  slightly  over-timed  and 
under-developed,  produces  a  transparent  pic- 
ture, under-timed  and  over-developed  produces 
a  picture  somewhat  resembling  an  ivory  min- 
iature. When  the  film  is  thick  and  tough, 
inclining  to  wash  off  the  plate  in  the  silver 
bath,  thin  with  alcohol.  Ether  makes  the 
collodion  tough,  and  alcohol  rotton ;  therefore, 
when  the  collodion  is  thick,  having  no  dispo- 
sition to  leave  the  plate,  add  ether. 


FOGING 

The  most  common  causes  for  foging  are 
light  getting  upon  the  plate,  either  before  or 
after  sitting,  or  want  of  acid  in  the  bath,  the 
operator  can  easily  ascertain  which  of  the  two 
is  the  cause. 


THE  NEGATIVE  PROCESS.  101 


STREAKS  AND  SPECKS. 

Streaks  upcn  the  plate  are  more  frequently 
caused  by  carelessness  in  the  manipulations 
than  in  the  quality  of  the  chemicals.  The 
following  may  be  named  as  some  of  the  most 
likely  causes.  First.  The  plates  not  being 
properly  cleaned.  Second.  Taking  the  plate 
out  of  the  -bath  before  the  ether  has  been 
washed  away  or  dipping  before  the  collodion 
is  sufficiently  set.  Third.  The  developer  not 
being  poured  on  evenly  at  first  Fourth. 
Too  much  water  in  the  collodion.  Fifth. 
The  bath  too  neutral.  Sixth.  The  plate 
shield  being  dirty,  the  shield  should  be  wiped 
quite  dry  after  each  sitting. 

Specks  are  of  frequent  occurrence,  especially 
when  new  collodion  is  used,  then  it  is  caused 
by  loose  particles  floating  in  the  collodion,  it 
should  be  allowed  to  settle  for  several  days, 
then  decant  and  set  carefully  away  for  use. 


102 


THE  NEGATIVE  PROCESS. 


HINTS  UPON  SILYEE  BATHS. 

The  silver  bath  should  be  very  frequently 
filtered  and  kept  free  from  dust;  flooding 
answers  a  good  purpose  also,  but  does  not  do 
away  with  the  necessity  of  filtering,  when  the 
bath  becomes  too  alkaline,  which  will  be  the 
case  if  the  ammonias  are  used  as  excitants. 
Add  a  few  drops  of  acetic  acid  for  negatives, 
and  for  positives  a  few  drops  of  nitric  acid. 
If  by  any  cause  it  should  become  too  acid, 
add  pure  aqua  ammonia,  until  it  becomes 
neutral,  and  then  put  in  the  proper  quantity 
of  acid  desired. 

Another  method,  and  probably  a  much 
better  one,  although  attended  with  more  time 
and  trouble,  is  to  heat  the  solution  over  a  slow 
fire,  and  add  to  it  whilst  it  is  warm  oxide  of 
silver,  until  it  becomes  neutral.  Then,  if  too 
much  nitric  is  present,  the  oxide  will  be  con- 
verted into  the  nitrate  of  silver,  and  on  the 
other  hand  if  too  much  acetic  acid  is  present, 
acetate  of  silver  will  be  formed  in  the  shape  of 
needles,  which  can  be  filtered  out,  and  reduced 


THE  NEGATIVE  PROCESS. 


103 


to  metallic  silver.  Baths  should  be  filtered  very 
carefully  through  two  thicknesses  of  paper,  and 
flooded,  if  used  much,  every  day  or  oftener. 
"When  the  bath  becomes  weak,  add  nitrate  of 
silver,  dissolved  in  a  small  quantity  of  water. 
Another  very  simple  method  of  reducing  the 
proportion  of  acid  or  alkali  in  the  nitrate 
bath,  is  to  add  to  it  nitrate  of  silver  dissolved 
in  a  small  quantity  of  water. 

In  conclusion,  I  will  repeat  in  substance 
what  I  have  said  at  the  commencement,  that 
success  depends  more  upon  a  thorough  ac- 
quaintance with  one  set  of  formulae,  than 
having  a  general  knowledge  of  all  in  use.  If 
the  student,  keeping  this  fact  in  view,  is 
observing,  and  carefully  attend  to  the  directions 
I  have  given,  however  imperfectly  they  may 
seem  to  those  who  adopt  a  difi*erent  course,  he 
will  find  photography  to  be  an  easy  and  a  fas- 
cinating study,  highly  worthy  of  his  leisure 
time  and  talents. 


NOTICES  OF  THE  PRESS 


OP 

SIMONS'  BOOK  ON  COLOEING  PHOTOGRAPHS. 


Instructions  for  Coloring  Photographs. — M.  P. 
Simons,  photographer,  of  this  city,  has  issued  a  small 
volume  intended  to  instruct  students  in  the  art  of  color- 
ing photographs.  The  instructions  are  very  full  and 
clear,  both  in  reference  to  the  preparation  of  the  colors 
and  the  manner  of  working  them.  The  proper  flesh 
tints  are  prepared  upon  an  engraved  palette,  set  in  as  a 
frontispiece  to  the  volume,  and  every  tint  is,  in  the 
directions,  alluded  to  by  the  number.  With  very  little 
practice  in  water-color  painting,  the  student  will  find, 
with  the  aid  of  these  instructions,  that  he  will  soon  be  able 
to  produce  a  satisfactory  portrait,  having  a  photograph 
ground-work. — Ledger. 

well  written  and  useful  book."-  Christian  Observer. 

Instructions  for  Coloring  Photogaphs. — Recent 
improvements  in  the  heliographic  art  have  astonished 
us  by  the  fidelity  of  the  likenesses  produced,  and  the 
photograph  is,  perhaps,  the  highest  development  of  the 
art  yet  given  to  the  world.  All  that  seemed  wanting 
to  make  photographic  portraits  perfect  was  to  invest 
them  with  the  flesh  tints  of  nature,  instead  of  the  mere 

10 


106 


NOTICES  OP  THE  PRESS. 


black  and  white  as  are  produced  in  the  camera.  This 
has  been  attained  both  in  water  colors  and  India  ink ; 
and  by  their  agencies  we  are  enabled  to  obtain  life-like 
miniatures,  which   cannot   partake  of  the  perishable 
qualities  of  the  common  daguerreotype.    To  meet  a 
great  public  requirement,  Mr.  M.  P.  Simons,  one  of  the 
most  successful  operators  in  our  city,  has  prepared  a 
little  volume  of    Plain  Instructions  for  Coloring  Photo- 
graphs in  Water  Colors  and  India  Ink,  with  a  Palette  of 
Flesh  Tints  and  Explanatory  Notes."    By  a  study  of 
this  very  practicable  work,  any  one  may  color  photo- 
graphs as  an  amusement  or  the  means  of  livelihood. 
We  recommend  it  to  public  attention.    It  is  published  in 
the  most  attractive  typographical  form  from  the  press  of 
T.  K.  &  P.  G.  Collins.— Kmes. 

This  work  appears  to  furnish  the  valuable  practical 
information  needed  by  young  photographers.  A  great 
change  is  taking  place  in  portrait  painting  by  the  use 
of  photographs  as  a  base.  Mr.  Simons  seems  to  under- 
stand his  art  well.  We  have  seen  some  very  fine  speci- 
mens from  his  establishment. — Freshyterian  Quarterly 
Review, 

The  Art  of  Coloring  Photogaphs. — Mr.  Simons,  of 
our  city,  has  published  a  second  edition  of  his  excellent 
little  book  of  instructions  in  the  art  of  coloring  Photo- 
graphs. The  palette  of  colors  which  is  given,  and  the 
clear  manner  in  which  their  use  is  taught,  will  enable  any 
lady  who  has  taste,  and  some  skill  in  painting,  to  color 
Photographs  in  almost  any  style.  The  book  fills  its 
place  admirably. — Home  Magazine, 


NOTICES  OF  THE  PRESS. 


107 


Plain  Instructions  for  Coloring  Photographs 
IN  Water  Colors  and  India  Ink  ;  with  a  Palette  of 
Flesh  Tints,  and  notes  and  explanations.  By  M.  P. 
Simons.    Philadelphia :  T,  K.  &  P.  G.  Collins. 

Just  the  manual  that  is  wanted.  There  are  hundreds 
of  young  ladies  with  taste  and  skill  in  coloring,  who,  by 
the  aid  of  this  little  book,  can  apply  that  taste  and  skill 
to  the  coloring  of  Photographs,  either  as  a  means  of 
earning  money,  or  as  an  elegant  accomplishment.  The 
instructions  here  given  are  minute  and  ample,  apparently 
covering  the  whole  ground.  —  T.  S,  Arthur^ s  Home 
Magazine, 

"  Must  proVe  of  great  use  to  Amateurs  and  Photo- 
graphers."— Pennsylvania  Inquirer. 

Price,  One  Dollar,  can  be  had  of  all  Photographic  Material 
dealers. 

M.  P.  SIMONS, 

No.  922  Chestnut  Street,  below  Tenth  Street, 

Philadelphia. 


W.  A.  WETHERBEE,  M.  D., 

No,  1099  Broadway,  corner  32  d  Street,  New  York, 


TAYLOR  &  WETHERBEE, 

Corner  of  Ninth  and  Chestnut  Streets,  Philadelphia, 


Have  constantly  on  hand  and  for  sale,  at  Wholesale  and 
Retail,  every  variety  of  Photographic  and  Daguerrean 
Chemicals,  consisting,  in  part,  of  the  following : 


ACID,  ACETIC, 

«         "  GLACIAL, 
«         "      8d  BAUME, 
"  GALLIC, 
«  HYDROCHLORIC, 
"  NITRIC, 
«  PYROGALLIC, 
«  SUCCINIC, 
"  SULPHURIC, 
ALCOHOL,  ABSOLUTE, 
AMMONIA,  AQUA, 

«  HYDROSULPHATE, 
"  BROMIDE, 
«  IODIDE, 
BARIUM,  CHLORIDE, 

«  NITRATE, 
BROMINE, 
CADMIUM, 

CADMIUM,  BROMIDE, 

"  IODIDE, 
DEXTRINE, 

ETHER,  SULPH.  CONCEN. 

10* 


GOLD  CHLORIDE, 

"  HYPOSULPHITE, 
GUN  COTTON, 
IODINE, 

"  BROMIDE, 

"  CHLORIDE, 
IRON,  BROMIDE, 

«  IODIDE, 

"  PROTO-SULPH.  CRYS. 
POTASSIUM,  BROMIDE, 

CYANIDE,  GRAN. 
«  "  FUSED. 

"  IODIDE, 
SILVER,  CHLORIDE, 
"  CYANIDE, 
«  IODIDE, 
"       NITRATE,  CRYS. 
«  OXIDE, 
SODA,  HYPOSULPHITE, 
SODIUM,  BROMIDE, 

"  IODIDE, 
ZINC,  IODIDE. 


HENRY  BIESTER'S 

WHOLESALE  AND  KETAIL 

PLAIJT  &  ORFAMENTAL 

GILT  LOOKING-GLASS 

AND 

kinxt  Jframe  ^stabli^ment, 

No.  804  MARKET  STREET, 

PHILADELPHIA,  Pa. 


H.  B.  most  respectfully  calls  the  attention 
of  Photographers  and  Dealers,  to  his  large 
assortment  of  Plain  and  Ornamental  Gilt 
and  Oval  Frames  for  Photographs,  Daguer- 
reotypes, Ambrotypes,  &C.5  which  are  not  to 
be  exceeded  in  design  or  cheapness. 

Orders  punctually  attended  to,  and 
goods  sent  to  any  part  of  the  Country. 


JOSEPH  A.  SPEEL'S 

MOMl  BOOl  BINDER!, 

COWPERTHW AIT'S  BUILDING, 
CHESTNUT  ABOVE  SIXTH, 

Entrance  No.  10  Carpenter  Street. 

Publishers  and  Booksellers  who  are  getting  up  large  editions 
of  sheep  and  muslin  work  would  do  well  to  give  him  a  call  before 
making  their  contracts  for  Binding.  The  extraordinary  facilities 
he  has  for  the  speedy  and  perfect  completioa-  and  finish  of  all 
work  undertaken  by  him,  place  this  Establishment  second  to  none 
in  the  United  States.  Forty  thousand  copies  of  that  interesting 
and  beautiful  book,  Kane's  Arctic  Explorations,"  were  bound  by 
the  Proprietor,  to  the  entire  satisfaction  of  the  publishers,  sub- 
scribers, and  purchasers. 

Booksellers  and  others  visiting  Philadelphia  are  respectfully 
invited  to  call  and  examine  this  Model  Bindery,"  which,  in 
all  its  arrangements  and  appointments,  is  believed  to  be  so  perfect 
as  to  stand  without  a  rival.  He  has  also  bound  the  two  large 
editions  of  Simons'  work  on  Coloring. 


MANUFACTURER  OF  ALL  KINDS  OP 


AND 


OVAL  BLACK  FRAMES. 

A  very  beautiful  article  for  framing  Pho- 
tographs, &c.  The  attention  of  Dealers  is 
earnestly  solicited.  Samples  will  be  sent  by 
express  on  application,  at  Wholesale  prices 
to  Dealers  only. 

E.  MASSE, 

No.  201  North  Eighth  Street,  Philadelphia,  Pa. 


OPTICAL,  MATHEMATICAL  &  PHILOSOPHICAL 
INSTRUMENTS. 

Glasses,  Telescopes,  Magic  Lanterns, 


MX6B.0S60Paes. 

Microscopic  Photographs  containing  the  Lord's  Prayer,  Creed,  Ten 
Commandments,  Declaration  of  Independence,  Groups,  Scenery,  copies 
of  Aticient  Letters,  &c. ;  each  not  over  one  sixteenth  of  an  inch  in 
size,  and  yet  can  be  read  distinctly  with  the  Microscope — Microscopic 
objects,  such  as  portions  of  Insects,  sections  of  Wood,  Bone,  Teeth, 
Foot,  Wing,  Eye,  &c.,  of  Fly,  Bee,  Wasp,  and  various  other  objects. 

Stereoscopes  of  the  most  approved  construction,  made  of  Mahogany, 
Rose  Wood,  &o.  Views  for  the  same  on  glass  or  paper,  consisting  of 
the  Marriage  Ceremony,  Pic-Nic  Party,  Tight  Shoe,  Ghost,  English 
Scenery,  and  an  almost  endless  variety  of  subjects. 

Families,  Schools  and  Colleges  supplied  with  apparatus  on  the 
most  favorable  terms.    Illustrated  and  priced  catalogues  gratis, 

No.  924  Chestnut,  near  Tenth  Street, 

Philadelphia, 


BRIif  Ol  BOIRD 


(for  mounting  photographic  pictures,) 
for  sale  by 

A.  M.  COLLINS^ 

CARD  WAREHOUSE, 

No»  506  Minor  Street,  Philadelphia. 

Samples  furnislied,  if  desired,  and  extra  sizes 
made  to  order  at  short  notice. 

Dealers  should  examine  our  stock,  whicli,  for 
quality  and  cheapness,  is  not  surpassed. 


We,  the  undersigned,  take  much  pleasure  in 
adding  our  testimony  to  the  superior  quality  and 
finish  of  the 

BRISTOL  BOAKD, 

(for  mounting  Photographic  Pictures)  as  above 
named,  and  can  recommend  them  with  confideiice 
to  the  use  of  all  Photographers  and  Artists: 

Jas.  E.  McClees,  626  Chestnut  Street. 
W.  L.  Germon,  702  Chestnut  Street. 
Walter  Dinmore,  730  Chestnut  Street. 
Broadbent  &  Co.,  814  Chestnut  Street. 


;  / 


